ANNUAL 2016-2017 Your destination for the past, present, and future of art. Table of Contents

2 Introduction 8 Institute Faculty and Fields of Study 13 Institute Staff 14 The Institute | A Brief History 17 Honorary Fellowship 18 Faculty Accomplishments 22 Faculty Spotlight 24 Current Research 30 Student Voices 38 Special Projects 41 Contemporary Art at the Institute 50 Alumni in the Field 56 Study at the Institute 59 Institute Supported Excavations 62 Course Highlights 68 Institute Graduates 74 Public Programming 88 Support The Institute

Art History and Archaeology The Conservation Center The James B. Duke House The Stephen Chan House 1 East 78th Street 14 East 78th Street New York, NY 10075 New York, NY 10075 Tel: (212) 992 5800 Tel: (212) 992 5847 [email protected] [email protected]

Inside cover: Installation view of the Great Hall Exhibition featuring “Rejuvenate and Repeat” by Lucy Kim. is a chorus of individual voices, of individual voices, is a chorus The Annual by Jenni Rodda orchestrated wonderfully by and presented as compiler, who acted the issue. who designed Jason Varone, all of the contributions from are There of the Institute, departments and sectors on behalf of which I gratefully acknowledge our readers. profound even more I acknowledge with and the of spirit gratitude the generosity which has Institute, dedication of the entire such a privilege. as Director made my tenure an unsettling time in 2016-2017 has been beyond our campus ways that extend well at many levels. The – a time of transition appointing and complex task of arduous occupied the Institute for a new director due of 2016. Thanks are portion a great to the Institute members of the search Sullivan, with committee, the chair Edward Clemente Jonathan Hay, Thomas Crow, Michele Marincola, and Thelma Marconi, the Institute through Thomas, who steered that led to the the challenging process Christine Poggi appointment of Professor University of Pennsylvania, who is the from to have on page 16. Honored here profiled I am equally director, been the Institute’s to to be a member of its faculty, honored have taught and to teach its outstanding students, and to have the delight of being its part of this gifted community and sharing commitment to the signal importance and enduring value of the arts. Patricia Rubin Director Judy and Michael Steinhardt The Institute of Fine Arts will allow you to will allow you to The video archive is to offer an an the Annual is to offer he task of year of the past academic overview academic of the coming and a glimpse

activities. and conferences in on some of the talks drop evenings and a number which occupied most are There the year. of days throughout also accounts of our expanded program of of expanded program also accounts of our and lectures, seminars, and other research other research seminars, and and lectures, Being contemporary in what we study, what Being contemporary in what we study, than a is much more we do, and what we are, focus. It is an intellectual position. chronological It is the way that we acknowledge our place as as educators and researchers historians, our role even as we delve deep in the twenty-first century, into the past – literally at our excavations and metaphorically in our teaching and writing about to the modern prehistory age and around art from shifting geographical boundaries. The and across that exciting pages of the Annual amply prove range, and even a glance at our course offerings the point. reinforces exhibitions – the student-curated Great Hall Hall Great exhibitions – the student-curated House series of art installations and Duke on the walls, and the library case exhibitions The curated by alumna Lisa A. Banner. works, dynamic combination of contemporary the most of them site specific, highlights in the discourse and display of role Institute’s is a further installation contemporary art. There – of plastics in the Conservation Center by our Judith H. Praska Distinguished inspired in Conservation, Thea B. Professor Visiting Plastics”) van Oosten (known as the “Queen of by Thea with her seminar and organized of objects, representing students. This group the history of the material and its particular of damage and degeneration, also problems place in unique demonstrates the Institute’s training conservators to deal with modern and by contemporary art – a place doubly affirmed a initiative in creating the Mellon-sponsored curriculum in time-based media, colloquially known as “art with a plug.” program, with a taster of the 2017- 2018 2018 of the 2017- with a taster program, is here What is recalled course offerings. which eventful year, but a sampling of an visiting various sections can be enriched by to learn about of the Institute website more our faculty, students, our alumni, our current Welcome from Welcome the Director T The Institute of Fine Arts Annual 2016-2017 2

curator-led exhibition tours our members have the exhibition tours our curator-led as by individuals to be surrounded opportunity about the arts. as they are passionate alumni community Institute’s the globe the Across are world leadership. We sets the bar high for art a talented and hard-working fortunate to have such generous of graduates who also provide group following Institute students support for current thanks in part to the sheer in their footsteps. It is our school of Institute alumni that reputation visual arts in today’s force continues to be a driving world. the Institute offers over 100 programs Each year, 1 East and open to the public making free that are almost every night a cultural destination 78th Street of the week. Our engagement in the contemporary nine at the Institute through was realized art realm as part contemporary art exhibitions this past year Hall Exhibitions, and of the Duke House and Great cases. Each of Hall display Great Lisa Banner’s into these exhibitions brings our historic interiors can an active dialogue with contemporary art. You banner learn by visiting the website under the more The Institute: On Display. and success of the growth The tremendous over and public programs academic Institute’s reflection the past eight years has been a direct of the outstanding work of Patricia Rubin, who the Judy and Michael will be stepping down from the On behalf of this year. Directorship Steinhardt I the Institute family, and all members of Trustees dedication and brilliant thank Pat for her tireless leadership. With the arrival of the fall semester, will the Institute will welcome Christine Poggi who the University of Pennsylvania as the join us from are of the Institute of Fine Arts. We ninth Director to delighted to welcome Christine and look forward her to each one of you. introducing Leadership at the Conservation Center will also change hands in the coming year as Hannelore over to Margaret Roemich passes the reins Holben Ellis, who will assume the Chairmanship A special thanks to Hanne for her in September. of the Conservation Center over skillful direction the past two years. nother year has passed at the Institute has passed at the Institute nother year visiting students, faculty, where to the all those dedicated scholars and

Message Message from the Chair A Our Connoisseurs Circle members continue Our Connoisseurs Circle vital fellowship support for our PhD to provide students. While auditing courses, visiting private collections and artist studios, and attending We are profoundly grateful for the support provided grateful for the support provided profoundly are We by each donor who has participated in the Momentum Campaign, which $50 million Institute’s has been extended for another year to maximize students. the impact of funding for the University’s this campaign continue to Contributions toward for our ambitious offering a bright future grow, and students. A special thanks goes out to alumni friends who have included the Institute in their these estate planning. It is an honor to recognize Legacy Society. donors as part of the Institute’s determined to fulfill our highest aspirations are We for this campaign as it allows the Institute to some of the most talented attract and retain archaeology, students in the fields of art history, and conservation, and we invite you to join us in support of this initiative as we strive to meet this goal. This year we had the pleasure to welcome This year we had the pleasure as the newest member Maddalena Paggi-Mincione An alumna who received of Trustees. of the Board the Institute, Maddalena her MA and PhD from studying spent eleven years in New York and the history of art, and completed archaeology in 2005. She her dissertation on Etruscan bronzes NYU’s from in 1996 degree her bachelor’s received a College of Arts and Science. Maddalena has and art history wealth of experience in archaeology understanding of the and, as an alumna, a strong pleased to extremely are needs of the Institute. We have her join us. advancement of art history, art conservation, conservation, art of art history, advancement share come together to have and archaeology discoveries contributing their knowledge and dialogue in the arts. I to an ongoing, vibrant Institute where to be a part of the am honored gifted students, scholars, globally recognized in force the driving are and talented alumni art world in and beyond the classroom. today’s year and the past Join me as we review the future. celebrate our plans for

The Institute of Fine Arts Annual 2016-2017 4 I hope you will take advantage of all the Institute has to offer in the coming year. From our free public lectures and contemporary art exhibitions, to special events and course offerings for those who choose to join our Connoisseurs Circle, there are many ways you can continue to be an engaged and esteemed member of our community. With the close of one year another begins, and I hope you will join me in celebrating the Institute as an internationally renowned center of excellence.

Marica Vilcek Chair

Board of Trustees

Marica Vilcek, Chair Ex-Officiis

Anne Ehrenkranz, Vice Chair Martin Dorph

Stephen Lash, Chair Emeritus Katherine Fleming

Sheldon H. Solow, Chair Emeritus Andrew Hamilton

Judy Steinhardt, Chair Emerita Philippe de Montebello

Suzanne Deal Booth Terrance Nolan

Larry Gagosian Patricia Rubin

Nancy Lee Luke Syson

James R. McCredie Ann Temkin

Alexandra Munroe Valeria Napoleone Maddalena Paggi-Mincione

Anne Poulet

Lauren Berkley Saunders

Deanie Stein IN THE FOREFRONT

Susan Marshall & Company performed Two Person Operating System, which activated Martha Friedman’s sculpture featured in the 2016 Fall Great Hall Exhibition. IN THE FOREFRONT

In this Section

SPOTLIGHT ON FACULTY AND STUDENT RESEARCH Faculty in the History of Art Faculty in the History and Archaeology Jonathan Brown of and Milton Petrie Professor Carroll Fine Arts (Emeritus as of 09/2017) Spanish and new Spanish painting, 1500-1800; history of collecting; art at courts, seventeenth century European Jean-Louis Cohen in the Sheldon H. Solow Professor History of Architecture Nineteenth- and twentieth-century and urbanism in Germany, architecture and North Russia, France, Italy, America; contemporary issues in town planning, and architecture, landscape design Colin Eisler of Fine Arts Robert Lehman Professor and Early Netherlandish, French, art; graphic German art; Quattrocento arts; history of collecting; Jewish art issues Margaret Holben Ellis Holben Margaret (as Conservation Center Chair of the Eugene Thaw Professor of 09/2017); Conservation of Paper Conservation; Pietra La Villa Consultant, works of connoisseurship of Technical treatment art on paper; conservation twentieth- of prints and drawings; techniques of century materials and ethical issues in works of art on paper; art conservation

Hannelore Roemich Hannelore Chair of the Conservation Center (until 08/2017); of Conservation Professor Science Conservation of works of art and artifacts; non-destructive testing of art objects; indoor glass and environment; enamels, active and preventive conservation issues Marvin Trachtenberg of Masters Studies; Director of the Edith Kitzmiller Professor History of Fine Arts Early Christian, Architecture; Byzantine, and Western art Medieval art; Renaissance J. Sullivan Edward Helen Gould Sheppard in the History of Art, Professor The Institute of Fine Arts and Department of Art History Latin American art, colonial and modern periods; Iberian art; art of the Caribbean; Brazilian art Robert Maxwell Studies of Graduate Director Associate (as of 09/2017); of in the History Professor Medieval Art European Western and Early Christian, Byzantine, Medieval art Western

Jeongho Park defending his dissertation in December 2016

Institute Institute Faculty and Fields of Study Director of Graduate Studies (until Director of Fine Arts 08/2017); Professor Renaissance art; the history of the between history of art; relations artistic practice and art theory Alexander Nagel Thomas Crow for Faculty and Deputy Director Administration (until 08/2017); of ModernRosalie Solow Professor for the Arts Art; Associate Provost Seventeenth- and eighteenth- century art; nineteenth- and twentieth-century art; contemporary art Christine Poggi Judy and Michael Steinhardt (as of 09/2017); Professor Director of Fine Arts Modern art and and contemporary criticism, early twentieth-century Italian studies; avant-gardes, and women’s sexuality, gender, studies; the invention of collage; the rise of abstraction Judy and Michael Steinhardt Steinhardt Judy and Michael Professor (until 08/2017); Director of Fine Arts museums, Italian Renaissance art; patrimony; collecting, and cultural graphic historiography; portraiture; arts Administrators Patricia Rubin

The Institute of Fine Arts Annual 2016-2017 8 The Institute of Fine Arts Annual 2016-2017 9 David O’Connor Professor Lila Acheson Wallace Emeritus of Ancient Egyptian Art; Institute of Fine Arts/ Co-Director, NYU Expedition to Abydos, Egypt Ancient Aegean, Egyptian, and Roman art; Greek Archaeology John Langeloth Loeb Professor Professor John Langeloth Loeb of Art; Emeritus in the History of Fine Arts; Adjunct Professor Robert Scholar, Coordinating Lehman Collection Scholarly Catalogue Dutch and Flemish art history of prints and drawings Mathews Thomas F. John Langeloth Loeb Professor Emeritus in the History of Art Early Christian and Byzantine art and architecture James R. McCredie Professor Sherman Fairchild Emeritus of Fine Arts; Director, Excavations in Samothrace and archaeology Greek architecture Linda Nochlin Professor Lila Acheson Wallace Emerita of Modern Art Nineteenth- and twentieth- century painting and sculpture; contemporary art and theory; women and art Kathleen Weil-Garris Brandt Weil-Garris Kathleen Institute Arts, The of Fine Professor and College of Arts of Fine Arts and Science art and culture Italian Renaissance Faculty Emeritus Jonathan J. G. Alexander Professor Sherman Fairchild Emeritus of Fine Arts art, Medieval European illumination especially manuscript Egbert Haverkamp-Begemann Thelma K. Thomas of Fine Arts Associate Professor Late Antique, Byzantine, and Eastern Christian art and architecture Marvin Trachtenberg of the Edith Kitzmiller Professor History of Fine Arts Romanesque, Gothic, and Renaissance architecture of and urbanism; problems and temporality in architecture historiography; problematics authorship; the of architectural origins of perspective Road Robert Slifkin of Fine Arts Associate Professor Contemporary art; history of photography; nineteenth- and twentieth-century American art Soucek Priscilla P. John Langeloth Loeb Professor in the History of Art Persian and Arabic manuscripts; history of collecting portraiture; Philippe de Montebello in the Fiske Kimball Professor of Museums History and Culture history of Early Netherlandish art; collecting; history of museums; issues of cultural patrimony Hsueh-man Shen of Fine Arts; Associate Professor Art Chair in World Ehrenkranz practices Funerary and religious in pre-modern China; word and image in the visual culture of East Asia; art and material along the ancient Silk culture Mia M. Mochizuki Mia M. of the Professor Associate NYU Abu Dhabi History of Art, of Fine Arts and The Institute and the recycling Iconoclasms of cultures of art; material and Reformation; Renaissance early modern art networks of place; and the poetics history; global methods of art constructions of the Baroque Kent Minturn of Fine Assistant Professor Visiting Arts and American European Modernism; History of Photography and Cinema Clemente Marconi Professor James R. McCredie Art and in the History of Greek University Professor; Archaeology; Excavations at Selinunte Director, art and and Classical Greek Archaic and the the reception architecture; historiography of ancient art and of the archaeology architecture; ancient Sicily Robert Lubar of Fine Arts; Associate Professor NYU/Madrid Director, art European Twentieth-century (France and Spain); art since 1945 and America; critical in Europe theory Avalon Foundation Professor in Foundation Professor Avalon the Humanities (Emeritus as of 09/2017) Art and the second millennium BCE; Mediterranean integration: from progress art and Greek Crete; statehood, infiltration to Greek second to first millennium BCE; of Classical political origin and role art Günter H. Kopcke Jonathan Hay of Ailsa Mellon Bruce Professor Fine Arts History of Chinese art; art; art contemporary Chinese historical theory and method Finbarr Barry Flood Finbarr Professor Jr. R. Kenan William Institute of of the Humanities, College of Arts and Fine Arts and Science of the Islamic Art and architecture dimensions world; cross-cultural theories culture; of Islamic material of image-making; and practices technologies of representation; art historical historiography, and theory; methodology, Orientalism Michele Matteini of Art History, Assistant Professor Department of Art History Late Imperial Chinese painting and antiquarianism material culture; Qing and collecting culture; history; artistic exchanges; eighteenth-century art and globalism; craft and embodied and art knowledge; anthropology history; historiography Associate Faculty Dipti Khera of Art History, Assistant Professor Department of Art History of South Art and architecture art, Asia; cartographic cultures, and urban topography; global art methodology; and histories, theory, historiography of cross-cultural encounters; collecting, museums, and contemporary heritage landscapes; postcolonial studies Martin Meredith of Art History, Associate Professor Department of Art History Eighteenth- and nineteenth- and British art, century French and material culture, architecture, landscape design; art and gender encounters politics, cross-cultural art; interiors and in European and identity; historical revivalism contemporary art

Thea B. van Oosten Conservation Scientist Emerita, Cultural Heritage Agency of the Netherlands Judith Praska Distinguished Professors Visiting in Conservation and Studies Technical Becker Lawrence Sherman Senior Conservator, Department for Objects Fairchild Conservation, The Metropolitan Museum of Art, New York Dianne Dwyer Modestini Professor, Research in Painting Program Kress Conservation Faculty in the Visiting Conservation Center Johnson C. Richard Jacobs Professor; Visiting Fellow in Computational Arts and Humanities, Jacobs Institute at Technion-Cornell Cornell Tech Research Faculty in the Research Conservation Center

Robert Brennan defending his dissertation in April 2016 defending his dissertation Robert Brennan

Michele D. Marincola Distinguished Sherman Fairchild of Conservation; Professor La Conservation Consultant, Villa Pietra Conservation and technical art history decoration of medieval sculpture; of late medieval German sculpture; conservation of modern sculpture Hagop Kevorkian Professor of Hagop Kevorkian Professor Conservation Application of physiochemical methods to the study and of cultural property; preservation policy and damage environmental to materials; application of risk assessment and risk management to of cultural property the preservation Conservation Center Faculty Norbert S. Baer Professor of Aesthetics and the Professor Philosophy of Art, University of Paris IV--Paris-Sorbonne Jacqueline Lichtenstein Visiting Professor; Mildred C. Jay Mildred Professor; Visiting Emeritus, Oberlin College Professor Visiting Kirk Varnedoe in Art History Professorship (fall 2016) Visiting Faculty Visiting William Hood

The Institute of Fine Arts Annual 2016-2017 10 The Institute of Fine Arts Annual 2016-2017 11 The Conservation Center Eric Meier Whryta Co-Proprietor, Contemporary Art Conservation Kristin Patterson Modern Associate Conservator, Art Conservation Fran Ritchie American Conservator, Project Museum of Natural History Suzanne Siano Paintings Conservator and Modern Art Proprietor, Conservation Julia Sybalsky Associate Conservator of Natural Science Collections, American Museum of Natural History Steven Weintraub Art Conservator and Proprietor, Services Preservation Leslie Ransick Gat Ransick Leslie and Conservator Objects Group Art Conservation Proprietor, Alexis Hagadorn Columbia Head of Conservation, Columbia University Libraries, University Lucie Kinsolving National Paintings Conservator, Academy Museum Leona Marco Dr. Head Scientist, The Metropolitan Museum of Art Conservator of Contemporary Art, Modern Materials, and Media, Bek LLC & Frohnert, Objects Conservator and Co- Whryta Contemporary Proprietor, Art Conservation Jean Dommermuth ArtCare Paintings Conservator, NYC; Conservation Consultant, La Pietra Villa Maria Fredericks Drue Heinz Book Conservator, Library and Museum; The Morgan La Conservation Consultant, Villa Pietra Christine Frohnert Jeffrey Weiss Jeffrey Guggenheim Senior Curator, Museum, New York for the Institute Lecturers Conservation Center Breatore Shauna Young Associate Paintings Conservator, Modern Art Conservation Delidow Margo Associate Professor of Italian and Associate Professor NYU Art History, Romig Andrew Gallatin Associate Professor, Study, School of Individualized NYU Shaw Lytle of English, NYU Professor Luke Syson Iris and B. Gerald Cantor Department Curator in Charge, and Sculpture of European Decorative Arts, The Metropolitan Museum of Art Mark McDonald Mark Mexican, Spanish, Italian, Curator, and prints and early French Department illustrated books, and Prints, The of Drawings of Art Museum Metropolitan Ara H. Merjian Associate Professor of Art History, of Art History, Associate Professor NYU Pepe Karmel Michael Gallagher Conservator in Sherman Fairchild Paintings Conservation, Charge, Museum of Art The Metropolitan Juliet Fleming of English, Associate Professor NYU Associate Director for Collections Associate Director and Administration, The Museum of Art; Metropolitan Curatorial Studies Carrie Rebora Barratt Contributing Faculty and Collaborating Scholars Christopher Wood German Department; Professor, Humanities Chairs, Faculty Chair, of Arts and Science, NYU Deborah Willis Chair, University Professor; Department of Photography & Imaging, Tisch School of the Arts, NYU Lillian Tseng of East Asian Associate Professor for Institute Art and Archaeology, the Study of the Ancient World, NYU Reindert Falkenburg Dean of Arts and Humanities, for Intellectual Provost Vice Faculty and Cultural Outreach, Abu of The Institute, NYU Director Dhabi Brigitte Miriam Bedos-Rezak of History, Department Professor, NYU Miriam Basilio Department Associate Professor, and Museum of Art History Studies, NYU The Institute of Fine Arts/ Institute The Faculty Affiliated NYU Ann Temkin Marie-Josée and Henry Kravis Chief Curator of Painting and Museum of ModernSculpture, Art J. Winter Irene Professor William Dorr Board of Fine Arts Emerita, Harvard University The Institute of Fine Arts The Institute of Fine Honorary Fellows Barkan Leonard Class of 1943 University and Chair of the Professor Department of Comparative Princeton University Literature, Jim Coddington of Museum Chief Conservator, Modern Art Navina Najat Haidar Department of Islamic Curator, Museum Art, The Metropolitan of Art Mancusi-Ungaro Carol for Associate Director Conservation and Research, Whitney Museum of American Art Martha Rosler Artist Bonna D. Wescoat Emory of Art History, Professor and University; Adjunct Professor Excavations in Samothrace Director, Anna Serotta Excavations Conservator, Consulting at Selinunte Alexander Sokolicek Excavations at Field Director, (until 01/2017) Aphrodisias The Institute of Fine Arts Excavation Field Directors Roland R. R. Smith of Classical Lincoln Professor University of Oxford; Archaeology, Excavations at Aphrodisias Director, Senior Research Scholar; Field Senior Research The Institute of Fine Arts/ Director, NYU Expedition to Abydos, Egypt Brian Castriota Supervising Conservator, Excavations at Aphrodisias Jack A. Josephson Associate in Egyptian Art Research Stephen Koob Excavations Conservator, Consulting in Samothrace The Institute of Fine Arts The Institute of Fine Associates Research Matthew Adams

The archaeological site of Aphrodisias, Turkey. Aphrodisias was inscribed on the UNESCO World Heritage List on 9 July 2017. Heritage on the UNESCO World was inscribed Aphrodisias Turkey. site of Aphrodisias, The archaeological Adjunct Instructor in Italian, Institute of Fine Arts Rosalia Pumo Heidi Ziegler Adjunct Instructor in French, Institute of Fine Arts Uwe Bergermann Deutsches Haus, Adjunct Instructor, College of Arts and Science Adjunct Instructors in Languages George Wheeler George of Conservation Research, Director Graduate School of Architecture, Planning and Preservation, Columbia University; Research Museum Scientist, The Metropolitan of Art Deborah Trupin State New York Conservator, Textile of Historic Sites Bureau Jack Soultanian, Jr. The Metropolitan Conservator, Museum of Art Pam Hatchfield Henderson T. and Carol Robert P. Head of Objects Conservation, Museum of Fine Arts, Boston Additional Conservation Additional Conservation la Pietra Consultants at Villa

The Institute of Fine Arts Annual 2016-2017 12 The Institute of Fine Arts Annual 2016-2017 13 James Cook Public Safety Officer Egerton Kelly Public Safety Officer Darius Segure Public Safety Officer Finance Office (212) 992-5895 Jennifer Chung of Budget Director and Planning Lisa McGhie Financial Analyst Building Office (212) 992-5811 Malloy Richard Assistant Director, FCM Operations Manzo Wilfred Facilities Supervisor Nealon Richard Building Operator Robert Doucette Building Operator Public Safety (212) 992-5808 Kimberly Hannah Library Assistant Abigail Walker Library Assistant (as of 02/2017) Gary Speziale Assistant Special Projects (until 02/2017) Shirin Khaki Library Assistant (until 02/2017) Library (212) 992-5825 Amy Lucker Head, Institute Libraries Daniel Biddle Conservation Supervisor, Center Library Michael Hughes and Public Reference Services Librarian Web and Electronic and Electronic Web Media Manager Joe Rosario Computer Services Manager L. Cintron George Computer and Network Support Technician Nita Lee Roberts Photographer Fatima Tanglao Administrative Aide Samuel H. Kress Fellow in Samuel H. Kress Painting Conservation Digital Media and Computer Services 992-5884 (212) 992-5872; (212) Jenni Rodda Department Manager Jason Varone Amelia Catalano and Laboratories Manager, Study Collection Kevin Martin Academic Advisor Shan Kuang Institute Staff Staff Institute Jessica Cayer Grant Administrator Conservation Center (212) 992-5888 Hope Spence Academic Assistant Conley Lowrance Academic Advisor (212) 992-5868 Lisa Hoang Administrator of Academic Programs Academic Office Joseph Moffett Development Assistant Andrea Yglesias (until Andrea Novermber 2016) Development and Alumni Affairs Officer Sophie Lo (as of July 2017) Manager of Public Programming and Special Events Kathryn Falato (as of June 2017) Development and Alumni Affairs Officer Director of Development and Public of Development and Public Director Affairs (212) 992-5812 Sarah Higby (as of November 2016) Development and Development and Public Affairs Office Brenda Phifer Shrobe Brenda for the Director Assistant to Administration and Human Resources Director’s Office Director’s (212) 992-5806 The Institute | A Brief History

rt history became a dedicated field of study at New York University in 1922, A when the young scholar-architect Fiske Kimball was appointed the Morse Professor of the Literature of Arts and Design. He laid the foundation for much of what still distinguishes The Institute of Fine Arts: its core faculty of the highest quality, special relationships with New York’s museums, liberal use of the expertise of visiting faculty, and twin commitments to graduate education and advanced research. Richard Krautheimer returned to the Institute in 1992 at the age of 95 to give a lecture. Photograph by Marvin Trachtenberg In 1932, NYU’s graduate program in art history moved to the Upper East Side in order to teach Walter Friedländer, Karl Lehmann, Julius Held, and in the collections of The Metropolitan Museum of Richard Krautheimer set The Institute on its course Art. Under the energetic leadership of its chairman, of rigorous, creative, and pluralistic scholarship Walter W. S. Cook, the program became one of the and strong worldwide connections. The National world’s most distinguished centers for art historical Endowment for the Humanities has commended research and education, and was renamed The The Institute as a national asset for its leadership Institute of Fine Arts in 1937. The Institute was role in art historical scholarship and training. The strengthened greatly by refugee professors from the Endowment is one of numerous institutional and German and Austrian institutions that had given birth private benefactors that continue to support The to the modern discipline of art history. Foundational Institute’s work. art historians such as Erwin Panofsky

The Graduate Department moves to the second floor of The Institute moves to the Paul The Institute moves to the Carlyle Hotel at Madison Warburg House at the James B. Duke House Avenue and 77th Street. 17 East 80th Street. at 1 East 78th Street. c. 1936 1938 1959

1932 1937 1958

A Graduate The name is changed to Curatorial Studies Department in Fine the Institute of Fine Arts. program established. Arts is founded separate from Washington Square and moves uptown to Munn House, Directors of The Institute of Fine Arts opposite the Plaza 1931 Walter W. S. Cook Hotel. 1951 Craig Hugh Smyth 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin 2017 Christine Poggi The Institute | A Brief History

The curriculum was designed as a “three-legged stool” by which the conservator is supported in equal measure by art historical study, scientific training, and practical experience—an interdisciplinary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center has been housed in the Stephen Chan House across the street since 1983.

Almost from its inception, The Institute has The Conservation Center in the James B. Duke House,1960s. conducted significant archaeological projects staffed by its faculty and students. Excavations are currently

thriving at Aphrodisias, Turkey (conducted jointly with In 1958, Nanaline Duke and her daughter Doris Duke NYU’s Faculty of Arts and Science); at the Sanctuary presented The Institute with the James B. Duke of the Great Gods in Samothrace; at Abydos, Egypt; House at 1 East 78th Street. By the end of the year, and at Selinunte, Sicily. In the course of its history, Robert Venturi had completed the remodeling of The Institute of Fine Arts has conferred over 2,400 the house for The Institute’s use. Two years later, advanced degrees and trained a high number of the The Institute became the first graduate program in world’s most distinguished art history professors, the United States to offer an advanced degree in curators, museum administrators, and conservators. conservation. There was the conviction that a new kind of conservator would be trained at the Center, an alternative to the artist-technician.

The Stephen Chan House The Institute of Fine Arts The Duke House opens as the Conservation celebrates its marks its 100th Center’s new home. 75th anniversary. anniversary.

1983 2007-08 2012

1960 2004 2010

Conservation Center Faculty expansion The Conservation Center celebrates founded. initiative begins with its 50th anniversary. NYU funding. The Institute welcomes its first entering class of the new M.A. program. Chairmen of the Conservation Center 1961 Sheldon Keck 1967 Lawrence J. Majewski 1975 Norbert S. Baer and Lawrence J. Majewski, Co-Chairmen 1987 Margaret Holben Ellis 2002 Michele D. Marincola 2008 Hannelore Roemich, Acting Chair 2011 Michele D. Marincola 2014 Hannelore Roemich 2017 Margaret Holben Ellis

n February 2016 Provost David McLaughlin McLaughlin David n February 2016 Provost for the next to search convened a committee of some fifteen of the Institute. Comprised Director

individuals from many divisions of the University, of the University, many divisions individuals from as well of Trustees Board members of the Institute’s the and an outside scholar, as an Institute student of this The author almost a year. committee worked for of this group. essay had the privilege of serving as Chair Christine Poggi of the History The choice of Professor was of Art Department at the University of Pennsylvania I

SULLIVAN J. EDWARD OF FINE THE INSTITUTE ART, OF OF THE HISTORY PROFESSOR HELEN GOULD SHEPPARD HISTORY OF ART AND DEPARTMENT ARTS Christine Poggi: A New A Poggi: Christine Institute for the Director

Our new Director’s research profile is broadening into the area of contemporary art and politics. Her next into the area is broadening profile research Our new Director’s book is entitled The Performance of Exile, Migration and Labor in Contemporary Art. She is also preparing in addition, informed by a are, interests work and essays on Giacomo Ballà and Mona Hatoum. Christine’s many periods of time. She is bound engagement with art of all parts of the world and from thoroughgoing in modern initiatives and programs and contemporary supporter of all of our many projects, to be a great heartily welcome her as part of the of the past and conservation of works of art. We art, art and archaeology Institute community. Christine has held a number of administrative posts at Penn. She served as Chair of both the Graduate and Christine has held a number of administrative Women’s Sexuality and affiliations with Gender, her department and has core divisions of Undergraduate She is the author of many essays Languages and Literatures. Studies as well as Italian Studies and Slavic Guitars” of Two A Tale Constructed Sculpture: First including a widely praised Art Bulletin article, “Picasso’s committees of The College Art Association, and advisory (June 2012). She is a member of many boards Foundation and the Agence Nationale de la Recherche The American Academy in Rome, the Dedalus symposia and student-led initiatives at the collaborator on projects, and others. She has been a regular museum world in Philadelphia Museum of Art and she plans to continue her active engagement with the NYU and thus a committee to assess the state of art history across In 2016, Christine chaired New York. the Institute but in became very familiar with the complexities of our discipline, which is taught not only at many other divisions of the University. Christine Poggi is one of the most distinguished U.S. scholars in the field of early twentieth-century Christine Poggi is one of the most distinguished as Cubism and Futurism, although she has greatly art. Her focus has been on such movements European with a dissertation on the invention Yale her PhD from her intellectual purview since receiving broadened and 1919, a subject that became the theme of her first book and early practice of collage between 1912 book Inventing Futurism recent Her more University Art Gallery. in 1992 and an exhibition at the Yale the Modern Language Association. Prize from R. Marraro the Howard (Princeton, 2009) was awarded welcomed as a most positive option to take up the position that had been carried out with expertise, up the position that had been carried out with expertise, welcomed as a most positive option to take Patricia Rubin, over the course of some seven years. success by our colleague, enthusiasm and great grateful to Pat for her selfless service and we immensely All members of the Institute community are of the NYU faculty this July and, as of September 1, welcome Christine, who will become a member of the Institute. the ninth Director

The Institute of Fine Arts Annual 2016-2017 16 The Institute of Fine Arts Annual 2016-2017 17

om e-flux and the University of

artha Rosler is an artist who has long focused on matters of the public sphere and and on matters of the public sphere artha Rosler is an artist who has long focused Brooklyn women. She graduated from they affect landscapes of everyday life, especially as of California, the University San Diego, in 1974. from an MFA College in 1965 and received

Martha Rosler

Minnesota Press. Rosler lives in Greenpoint, Brooklyn, a neighborhood that has been a recurring subject for a neighborhood that has been a recurring Brooklyn, Rosler lives in Greenpoint, Minnesota Press. her projects. Rosler has received numerous national and international including five NEA fellowships, the numerous awards, Rosler has received Prize (Austria, 2006), 2005), the Oskar-Kokoschka Spectrum International Prize in Photography (Germany, Foundation Grant (2007), the Guggenheim Museum Lifetime Achievement a Woman the Anonymous Was (2012), the College Art Association Asher B. Durand Award Museum’s (2010), the Brooklyn Award (2017). Caucus of Art Lifetime Achievement Award (2013), and the Women’s Distinguished Feminist Award Her book, The Art of Cooking, a Mock Dialogue Between Julia Child and Craig Claiborne, an investigation of the rhetorics and histories of cookbooks and cooking, is forthcoming fr She has taught at the Mason Gross School of the Arts at Rutgers University in New Brunswick, NJ, Arts at Rutgers University in New Brunswick, NJ, School of the She has taught at the Mason Gross and and writings often center on the production projects and at the Städelschule in Frankfurt. Her , a cycle of Here… Lived in cities. If You of artists role systems of transport to the uses of space, from on housing, homelessness, gentrification, and community exhibitions and discussions she organized and rethought has been revisited in New York, struggle, held in 1989 at the Dia Art Foundation City in 2016. In 2012, the Museum New York in Seattle and in many cities since—most recently , culminating a series of Meta-Monumental Garage Sale held Rosler’s of Modern Art in New York San Diego in 1973. first held in iterations of her Garage Sale project, M The Honorary Fellowship recognizes distinguished scholars in art history, archaeology, conservation and conservation archaeology, in art history, distinguished scholars The Honorary Fellowship recognizes acknowledges their contribution to The award in the visual arts. disciplines, or outstanding figures related learning, fields. teaching, and practice in these

Institute Institute Honorary Fellowship Jean-Louis Cohen Jean-Louis Cooley Alan Sonfist: Natural History, Co-curator, Reed College, Portland, OR, 29 March--12 Gallery, June 2016. Margaret Holben Ellis Dubuffet Drawings, 1935-1962, The Morgan Library & Museum, 30 September 2016--2 January 2017; The Hammer Museum, Los Angeles, 29 January--30 April 2017. Robert Slifkin Marvin Trachtenberg Mongan Prize 2016: I Tatti Exhibitions russe, dessins de de l’avant-garde Architecture École nationale Tchoban, la collection Serguéi des Beaux-Arts, Paris, October supérieure 2017--February 2018. Hannelore Roemich Mellon Foundation, W. 2016-2017: The Andrew the grant “Curriculum primary investigator for media art development in time-based conservation.” Robert Slifkin 2016: Beinecke Fellowship, The Clark Art Institute. Alexander Nagel Alexander for the National Endowment 2016-2019: (with Elizabeth Collaborative Fellowship Humanities A Renaissance for Amerasia: Horodowich), Discovery.

Honors Honors Philippe de Montebello for 2017: The New Criterion Edmund Burke Award and Society. Service to Culture The American 2017: Cultural Exchange Award, Austrian Foundation. Egbert Havercamp-Begemann 2016: Dedication to the catalog of the Metropolitan exhibition catalog in Segers Hercules Museum’s of his work on the artist. Leeflang, recognition Segers: Painter, Hulgen, and others. Hercules Rijksmuseum. Amsterdam: Etcher. the Arts (art in Icon Award 2017: Bruce Museum’s historian). Margaret Holben Ellis American Institute for President, 2013-2017: Vice Conservation of Historic and Artistic Works. American Institute for 2017: President, Conservation of Historic and Artistic Works. Thomas Crow American the Residency, 2016: James S. Ackerman Academy in Rome. National Gallery, Lectures, 2017: The Paul Mellon Soul Rebels: for the Young London, "Searching Style, Music, and Art in London 1956-1969."

Jean-Louis Cohen Jean-Louis the Arts and Letters, Order of 2016: Officer in the Paris. Accademia di Chair, 2016-2017: Borromini italiana. Universitá della Svizzera Architettura,

Faculty Accomplishments Accomplishments Faculty

The Institute of Fine Arts Annual 2016-2017 18 The Institute of Fine Arts Annual 2016-2017 19 Thomas Crow NSW, No Idols: the Missing Theology of Art. Sydney, Australia: Power Publications, 2017. Who Benefits?” “The Perpetual State of Emergency: and Darby English eds., Art History In David Breslin , 3-11. Williamstown: Clark Art and Emergency Institute, 2016. russes,” Europe “Retour d’Amérique: pages d’écriture (2017): 43-54. e la scuola,” Architettura di architettura “Il progetto civile 16 (2016): 4. Domus 1007 di architettura,” “Anatomia del libro (2016): 20-23. de “La maison atelier de Jean Lurçat,” La Lettre l’Académie des Beaux-Arts 82 (2016): 30-31. Siza without capital letters,” Álvaro “Architecture Monografías 186-187 (2016): 4-11. 1995-2016, AV “Nouveaux réacs, vieux réacs et ignorants de 242 (2016): 22-25. toujours,” d’Architectures “Auschwitz, miejsce wielopzemysłowe,” 1 (2017): 68-71. Autoportret Modernité, ModernisationArchitecture, . Paris: 2017. Fayard, Arnold, eds. Paris- Dana, and Jean-Louis Cohen, de l’art, . Paris: Institut national d’histoire Londres 2016. “Le Corbusier après Le Corbusier: de l’inachevé à l’œuvre à l’inconstructible.” In Le Corbusier, , 234-247. Paris: de sa restauration l’épreuve 2017. Éditions de La Villette, In la transfert à l’œuvre.” “Amérique/Europe: Didi-Humerman, and Georges Giovanni Careri eds., Hubert Damisch, l’art au travail,” 79-94. Paris: Mimésis, 2016. Cohen Jean-Louis Jonathan J. G. Alexander G. J. Jonathan . The Painted Book in Renaissance Italy 1450-1600 2016. Press, University New Haven: Yale Major Publications 29

31

Blackwell,

Antike Plastik 40/2 (April 2017),

The Japan Review

. Pisa: Istituto editoriali . Pisa: Istituto editoriali Kiene. “Sicile

Anniversary of the

A Companion to Greek A Companion to Greek

Art and Religious Reform in

Screens,” Art History

Malden, MA: Wiley

, 75-91. World Map World

Universitäts- und Stadtbibliothek Köln, Universitäts- und Stadtbibliothek

Contexts, and Functions

Greek West: Temples and their Decoration.” and their Decoration.” Temples West: Greek

Dawn of a Global Age: Visual Dialogue between [“Dawn of a Global Age: Visual Ancient Coroplastic Art. Iconography, Art. Iconography, Ancient Coroplastic

”], with Yoriko Kobayashi- ”], with Yoriko Edo Japan and the West Sato. Kyoto: Kōyōshobō, 2017. “The Reliquary Reformed.” In Bridget Heal and “The Reliquary Reformed.” In Bridget Heal and eds, Joseph Koerner, Special Issue on the 500th Lutheran Reformation, of Place in a Pair of “A Global Eye: The Perception Tokugawa (2016): 69-119. Hannelore Roemich “Recent Advances in and L. Fair, Roemich, Hannelore of the Glass and Ceramics Conservation.” Preprints Interim Group ICOM-CC Glass and Ceramics Working 2016. Poland, May Meeting, Worclaw, “The M. Miles, ed., In Margaret 2016. Mia Mochizuki 対話する日本と西洋の文化――グローバル時代の夜明 け Clemente, and M. Marconi, of Classical the Architecture Ancienne: Hittorff and Hittorff, vol. 5. Die Alben von Jacob Ignaz Sicily.” Cologne: 2017. eds. Musicians Marconi. Bellia, A. and Clemente in Ritual Morgantina.” “The Goddess from (2016): 1-31. Sensuous Surfaces: The Decorative Object In Early In Early Object The Decorative Surfaces: Sensuous Modern China 《 魅感的表面：明清的玩好之物》. by Fang and others, supervised by Hui Translated fanyi chubanshe, Beijing: Zhongyang Jonathan Hay. 2017. Marconi Clemente Early Modern: 431-49. Europe Architecture e poligrafici internazionali, 2016.

Jonathan Hay Jonathan In Gulru Necipoglu “The Passage of the Other.” and Alina Payne, eds., Histories of Ornament: Global to Local, 62-69. Princeton: Princeton From 2016. University Press, Beijing: Ecologies of Movement in the “Green New Capital c. 1450.” In Craig Clunas, Jessica Luk, eds., Ming China: Harrison-Hall, and Yu-ping Courts and Contacts,1400-1450, 46-55. London: The British Museum, 2016. Finbarr Barry Flood Finbarr in the ‘Islamic as Image Making “Idol Breaking Advances in State’”, Religion and Society: 7 (2016): 116-138. Research “Eclecticism and Regionalism: The Gwalior Qur’an and the Ghurid Legacy to Post-Mongol and Monique Art.” In Eloïse Brac de la Perrière Burési, eds., Le coran de Gwalior: Polysémie d’un , 153-169. Paris: Éditions manuscript à peintures 2016. De Boccard, Marble as Medium and the Wonder’: “’God’s Natural Image in Mosques and Modernism,” West 86th: A Journal History, of Decorative Arts, Design 23/2 (2016): 168-219. and Material Culture “The Flaw in the Carpet: Disjunctive Continuities In Gülru Necipoğlu and Arabesque.” and Riegl’s Alina Payne, eds., Histories of Ornament: From Global to Local, 82-93. Princeton: Princeton 2016. University Press, and and Mineral: Ambiguity “Animal, Vegetal Wall-Paintings,” Efficacy in the Nishapur 133 (2016): 20-58. Representations

Margaret Holben Ellis Margaret . 2nd ed. Lanham: of Prints and Drawings The Care 2017. Rowman & Littlefield, Colin T. Eisler T. Colin Madonna Falier da Negroponte’s “Fra Antonio Style,” Artibus et Imperial Venetian and the First 71-90. historiae 73 (2016):

The Institute of Fine Arts Annual 2016-2017 20 The Institute of Fine Arts Annual 2016-2017 21 Katherine Welch E. Smith, R. R. R., Julia Lenaghan, Alexander eds.. Excavation Sokolicek, and Katherine Welch, 5 of 2006-2012. Vol. at Aphrodisias, and Research Papers, Journal Aphrodisias of Roman Archaeology Supplementary Series. Ann Arbor: University of 2016. Michigan Press, Thelma Thomas of Luxury: Late “Perspectives on the Wide World Syria and Egypt.” In B. Antique Silk Finds from Hildebrandt and M.-L. Nosch, eds., Exchange along Antiquity: the Silk Roads between Rome and China in Series; 29. Oxford; . Ancient Textiles The Silk Trade 2017. Press, Oxbow Havertown, PA: In to Mainstream.” Margin “Esteban Lisa: from Esteban Lisa: The Abstract Cabinet, 10-19. Madrid: 2017. Fundación Juan March, Air and “Jesús María Lazkano: Meditations on Light, 19-27. Space.” In Lazkano: nunca podrás estar ahí, 2016. Donostia-San Sebastián: Nerea, Edward Sullivan Edward la estática y el movimiento: La Naturaleza “Entre muerta de José Gurvich.” In Naturalezas muertas: Obras (1945-1963), 21-36. Montevideo: Museo Gurvich, 2016. “Exquisite Corpse.” In Wyatt Kahn: Object Paintings, 50-64. St. Louis, MO: St. Louis Contemporary Art Museum, 2017. Fiction.” In Jás Real Time “Christian Marclay’s , 165-179. ed., Comparativism in Art History Elsner, Abingdon, Oxon: Routledge, 2017. Art “Methodological Position for a Second Degree Andrés Zervigon, and In Sabine Kreibel History.” eds., Photography and Doubt, 239-255. London; & Francis Group, Routledge, Taylor New York: 2017. “Joan Miró and Detrital Monumentalism in ed., Miró and In Robert Lubar, Postwar Sculpture.” , 69-88. Barcelona: Sculpture Twentieth-Century Fundació Joan Miró, 2016. Robert Slifkin

avid O’Connor has retired from the Institute after serving 22 years as Lila Acheson Wallace as Lila Acheson Wallace the Institute after serving 22 years from avid O’Connor has retired teaching, student mentoring, of Egyptian Art, during which his outstanding Professor member of and highly respected made him an integral service, and exceptional research

SENIOR RESEARCH SCHOLAR; FIELD DIRECTOR, INSTITUTE OF FINE ARTS/NYU FINE ARTS/NYU OF INSTITUTE SCHOLAR; FIELD DIRECTOR, SENIOR RESEARCH EGYPT ABYDOS, EXPEDITION TO

A Tribute to David O’Connor to David Tribute A ADAMS MATTHEW

D Spotlight on Faculty Spotlight on Faculty Professor O’Connor’s research interests began with the archaeology of ancient Nubia, where he did of ancient Nubia, where archaeology began with the interests research O’Connor’s Professor Walter Bryan Emery of University College, London, the late fieldwork as a graduate student, working with 1960s. His D.Phil. at the University of Cambridge Nubian Salvage Campaign of the early during the great that had historically been known to scholars Age Nubian cultures focused on the indigenous Bronze tasked the perspective of the ancient Egyptians. He came to Philadelphia in the mid-1960s primarily from the Museum’s re-establishing site and with finding an appropriate University Museum director by Penn’s Yale, Working in collaboration with William Kelly Simpson of in Egypt after a long hiatus. fieldwork program at the site tenure long and highly productive Expedition’s O’Connor began the Pennsylvania-Yale Professor orientation shifted and range of periods, his research of Abydos in 1967. After working in a number of areas its use by Egypt’s in the mid-1980s to the early history of Abydos and perhaps its most mysterious aspect: remained the main focus of Professor royal ritual and monumental building. This for first kings as an arena took up sponsorship of the Abydos fieldwork when he came to the Institute, which then O’Connor’s with of his earlier work at Penn, the fieldwork carried out at Abydos Expedition. Building on the results and on a considerably expanded scale under Institute sponsorship has fundamentally regularity greater the Institute’s community. Professor O’Connor was already one of the leading figures in the field in the field one of the leading figures O’Connor was already Professor community. the Institute’s in 1995, having when he came to the Institute in the U.S. and internationally, both of Egyptology, Department of Oriental Studies in the (then) of Egyptian Archaeology served as Professor previously University curator of the Egyptian Section of Penn’s at the University of Pennsylvania, and as Museum.

The Institute of Fine Arts Annual 2016-2017 22 The Institute of Fine Arts Annual 2016-2017 23

t the Institute’s annual alumni alumni annual t the Institute’s held during the College Art reunion, in New conference 2017 Association’s A Tribute to A Tribute Jonathan Brown Jonathan Watch the slideshow online. Watch Friends and colleagues collected in a sketchbook and a reminiscences PowerPoint file. A York, Professor Brown’s colleagues, students, colleagues, students, Brown’s Professor York, and Institute graduates collaborated on a 17 tribute honoring his work. Speakers at the February 2017 event included Patricia Rubin, Susan Grace alumna Director; the Institute’s Frick Collection; The Galassi, Senior Curator, Lazer; alumnus and faculty alumnus Brett J. Sullivan; and Jenni Rodda, member Edward Services. Digital Media/Computer Manager, Professor O’Connor’s range of interests and depth of interests range O’Connor’s Professor in his teaching of knowledge was also reflected his rich and varied courses at the Institute, where consistently engaged, challenged, and inspired committed to students. He has been strongly develop guiding and supporting his students as they colleagues. His students, as scholars and future his years at Penn, both at the Institute and from both with uniformly note his exceptional generosity work, time and in his level of engagement with their particularly in supervising dissertations. Professor the former students, whether from O’Connor’s Institute or Penn, now hold many of the leading positions in Egyptology in academic institutions North America. Their and museums throughout and experience working with him set a high standard model for how they should engage with their own that his influence will continue students and ensures generations of scholars of ancient to shape future Egypt for many years to come. Professor O’Connor’s extensive record of scholarly extensive record O’Connor’s Professor years at the Institute reflects publication during his and his of interests both his expansive range the past is most richly guiding philosophy that on and by drawing approached and productively of types of data. No fewer integrating a wide range his name as under than eight books appeared either author or editor during these years, including Pharaohs and the Cult of Osiris First Abydos: Egypt’s subjects as wide-ranging (2009). His articles covered experience as sexuality in Egyptian art, Egypt’s it, symbolic with and views of the world around the nature aspects of Egyptian temple architecture, of Egyptian urbanism, how meaning was embedded and a range of aspects of in Egyptian iconography, of “difficult” periods. particularly Egyptian history, essential His written work is widely considered for students and scholars of ancient Egypt. reading altered our understanding not only of early Abydos, early Abydos, not only of our understanding altered history Egyptian of early of key aspects but also have benefitted Institute students broadly. more aspects in virtually all being deeply involved from their efforts activities, and of the Expedition’s and to both to its results directly have contributed and analytical of new technologies the adoption of the leadership O’Connor’s methods. Professor pedagogical Institute’s Expedition as part of the students to gain first- mission has allowed Institute how knowledge of the past is hand understanding of generated. Le Corbusier, Villa Savoye. Photograph by Jean-Louis Cohen Savoye. Photograph by Jean-Louis Villa Le Corbusier, In parallel to this endeavor dealing with a relatively with a relatively this endeavor dealing In parallel to I am history, period in contemporary remote volumes of a catalogue the first two preparing which a project sketches, Frank Gehry’s raisonné of work in course on his to teach a lecture has led me eight-book set will the fall of 2016. The complete thousand study drawings, give access to nearly ten the early 1960s sequence from in diachronic ordered to some 300 projects. corresponding to this day, has implied in-depth research The preliminary and of the architect of excavations in the archives well as interviews with Gehry some of his clients, as and friends. The main text of and his early partners will be written by the end of the 450-page volumes identification of additional 2017, in parallel with the layout. of a preliminary illustrations, and the design in 2018. the books will be printed As a result, also history, realm of architectural In a rather different books and numerous one in which I have produced exhibitions, I have been engaged by the Paris-based of a museum Le Corbusier Foundation in the creation to be built devoted to this multifaceted architect, Savoye in the Parisian suburb near his iconic Villa programs and the the archives where of Poissy, My of the Foundation will eventually be relocated. contribution deals with the initial conceptualization of the permanent exhibition devoted to the life in the broader inscribed and work of Le Corbusier, selection A preliminary framework of modern history. and models having the of paintings, sculptures a potential of becoming key attractions within biographical, geographical, and thematic narrative by the coming fall, articulated with will be proposed planned the definition of the other components of the building. y current research develops develops research y current simultaneously in several directions, to rather operate according as projects

Photo credit: Gitty Darugar Photo credit:

different, heterogeneous temporalities, with temporalities, with heterogeneous different, alternative and of phases of slow maturation that absorb rapid implementation. The projects often integrate various types of me currently to writing, and research archival practices, from not, the shaping of expositions. Most often than and they include a phase in which they nurture, enriched by seminars held at the Institute. are is an in-depth The oldest of these projects investigation of an important phenomenon in urban and the history of Russian architecture, which can at large, industrial design, and culture On be subsumed under the term “americanism.” collections the base of an immersion in archival North that started in the 1980s both in Russia and campaigns in various America, and of renewed I have shaped a collections undertaken this year, entitled “Building a new book and exhibition project new world, Amerikanizm in Russian Architecture.” It covers developments that have taken place of the 19th many media since the last third across to the last quarter of the following one, century, the base for a seminar taught at and has provided round of the Institute in spring 2015. After a final explorations, the writing of a long manuscript will be completed by the end of 2017, with the perspective Canadian of holding an exhibition at Montréal’s in early 2019. for Architecture Centre M Jean-Louis Cohen Jean-Louis of in the History Solow Professor Sheldon H. Architecture Current Research Research Current

The Institute of Fine Arts Annual 2016-2017

24 24 The Institute of Fine Arts Annual 2016-2017 25 n fall 2016, I returned to the Institute after n fall 2016, I returned to the Institute after year an immensely enjoyable and productive spent as a fellow of the Wissenschaftskolleg Photo credit: Angelika Leuchter, Wissenschaftskolleg zu Berlin Angelika Leuchter, Photo credit: in Berlin. In addition to teaching, the first months in Berlin. In addition to teaching, the first months spent completing a triad of after the return were aspects of anti- different essays, each addressing mimetic tendencies in pre-modern and modernist The first, which benefitted from artistic cultures. in Central Europe the ability to conduct research of marble while based in Berlin, analyses the role veneers in modernism and medieval mosques. I Finbarr Barry Flood Barry Finbarr Humanities, of the Professor William R. Kenan Jr. History, Institute of Fine Arts and Department of Art University New York has suffered from a blind spot where the serious the spot where a blind from has suffered religious) dogmatically to (as opposed theological concerned. The distinguishing of art are implications the trap from of these artists is escape virtue in all taking on ultimate no easy matter when of idolatry, matters. Rome, after my return from This past semester, of students in my group was enlivened by a superb art, its syllabus course on post war British lecture the Paul Mellon Lectures designed to dovetail with found on the Institute’s (videos of which can be . I will follow this coming website under my page to timed David Hockney, fall with a seminar on retrospective realized overlap with the impressively arriving at Gallery, the Tate exhibition mounted by Museum in November. the Metropolitan y time has recently been devoted to to been devoted y time has recently them both of two series of lectures, the were named Mellon. The first

This past spring saw the publication of my latest book, No Idols: The Missing Theology of Art. Its in case studies of the modernthesis—carried artists Mark Rothko, Colin McCahon, Robert Smithson, and Corita Kent—is that art history James Turrell, The second set is named for Paul Mellon, son of The second set is named for Paul Mellon, son I and is dedicated to topics in British Art. Andrew, at the London first this year, gave the five lectures Center again at the Yale then National Gallery, for the for British Art. Their title was “Searching Rebels: Style, Music and Art in London Soul Young of 1956-1969,” their aim being to see the work David Hockney, well known artists—Robyn Denny, and Bruce McLean Riley, Bridget Pauline Boty, among them—within a common sensibility created by young, mostly anonymous, acutely style- of the talks conscious Londoners. Transformation ahead of into an expanded book is the main project publication date early in 2020. me, with a projected Andrew W. Mellon Lectures, which I gave at the gave at the which I Mellon Lectures, W. Andrew and over March National Gallery in Washington at April 2015. During the fall, while in residence the American Academy in Rome, I completed under the manuscript for their 2018 publication the title: Restoration: The Fall of Napoleon in Art 1812-1820. It is an the Course of European interwoven account of various artists, among and Géricault, Lawrence, them David, Ingres, dramatically Canova, whose lives and art were Videos Empire. by the end of the French altered of the talks can be found on the National Gallery website. M Thomas Crow Thomas of Modern Associate Art; Solow Professor Rosalie for the Arts Provost survey texts or highly specialized monographs. monographs. specialized texts or highly survey middle accessible an to providing In addition the two, other essays in between the ground canon, the limits of the volumes challenge to familiar comparative approach assuming a (such subjects and regions topics or addressing Asia) that Africa or South-east as sub-Saharan The or marginalized. ignored been have previously in scheduled to appear Companion volumes are September 2017. the American grant from Thanks to a collaborative Council of Learned Societies, this fall I will be Fricke, a western Beate working with Professor University of Bern.medievalist based in the We book comprised of a series will be co-authoring a the methodological of case studies that highlight connected pre-modern challenges of reconstructing flotsam, that represent histories using objects lacking any accompanying random survivals often metadata. The hope is to offer a kind of handbook that might be useful to graduate students My own negotiating similar issues in their research. ongoing fieldwork drawn from case studies are in the Caucasus and Ethiopia. They and research highlight the potential of artifacts and architecture attesting to the connections to function as archives between these Christian kingdoms, the central as far distant as Islamic lands and even regions south India on the eve of the Mongol conquests The long-term ambition in the thirteenth century. of the extraordinary is to write a macro-history in the artistic connections emerging interregional which the Mongols appeared, century before horizon in constitute something of a forgotten I plan histories of pre-modern globalism. In the fall, to continue to return to the Republic of Georgia with colleagues there. working on the project and drafting In addition, I have begun researching that I will deliver at materials for the lectures in spring 2019 during the University of Oxford of Fine Art (2018- as Slade Professor my tenure which will be published as 2019). The lectures, and themes of surrogacy a monograph, explore substitution in Islamic devotional practice across monumental architecture a range of media from to portable amulets and talismans. The hope is to and writing by the research finish the bulk of the the series begins. end of 2018, just before

This past year was also spent shepherding into This past year was also spent shepherding print a collaborative endeavor that has preoccupied much of the past four years. Co-edited with A University, Gülru Necipoğlu of Harvard Professor consists Companion to Islamic Art and Architecture than fifty specially commissioned essays of more on Islamic art written by over seventy authors. Running to almost 1500 pages, the two-volume seventh-century collection ranges in time from Arabia to the contemporary Middle East. Many of and innovative comprehensive the essays provide overviews of canonical topics in Islamic art history by schematic only represented currently that are All three essays derive from a major ongoing essays derive from All three the fruits of over which represents book project, I hope The book, which research. a decade’s to complete this fall, offers a transhistorical analysis of theories and practices of aniconism given and iconoclasm in the Islamic world, topics events in Syria and additional impetus by recent in Mosul Iraq, including the destruction wrought I recently project, and Palmyra. As part of this larger that both images published an analysis of the role of and image destruction play in the propaganda the so-called Islamic State. It suggests that the common embrace of marble embrace common that the It suggests images and its ‘natural’ for favored as a medium historical veiny ornament reflects in both traditions and contexts between architectural connections conversation, into brought rarely are traditions that in the trilogy The second let alone constellation. anti-image and anti-ornamentalfocuses on the rhetoric of the Protestant polemics in to contemporary Reformation, calling attention the whitewashed interiors comparisons between mosques. and Ottoman of Reformed churches to sketch a genealogy In doing so, it attempts churches Reformation-era of whitewash from of modernism.and mosques to the aesthetics the ways and final essay considers The third and Islamic art as in which the idea of Jewish enabled pre-modern abstract and anti-mimetic to examples compared examples of both to be modernist works in essays and of Euro-American Middle East and the in Europe exhibitions produced This in the second half of the twentieth century. constitutes a neglected comparativist approach historiographic phenomenon marked by distinct modes of (both innovative and problematic) between modernist rupture negotiating a perceived underwrites that production artistic pre-modern and it.

The Institute of Fine Arts Annual 2016-2017 26 The Institute of Fine Arts Annual 2016-2017 27 Rana Amar Singh II in Udaipur during a monsoon downpour, ca. Rana Amar Singh II in Udaipur during a monsoon downpour, and Arthur M. Sackler Gallery of 1700. Artists Unknown. Freer Asian Art in the Freer and Arthur M. Sackler Gallery of Asian of Asian Sackler Gallery Arthur M. and Freer in the DC, Washington, Institution), Art (Smithsonian international This venues. traveling to three before lead curator my work as a exhibition expands museum into strengthening beyond scholarship 2017, In March I study. in the regions institutions conducted a 5-day Gallery the Freer|Sackler that inaugurated workshop painting conservation conservation studio established paper the recently the key Udaipur, at the City Palace Museum, Given the world’s project. museum partner for this as a land saturated with familiarity with Rajasthan expect the exhibition to spectacular palaces, I non-scholarly audience who will attract a large images of learn about stereotyped a new history excess. Indian kings and oriental Fellowship (Fall 2016) provided Goddard NYU’s an article that set in the opportunity to write on local histories project motion my second book “Arrivals at Distant Lands: of traveling cultures. Indian Artful Letters and Entangled Mobilities in the for Early Ocean Littoral,” in Intersections: Yearbook Modern Studies (forthcoming, 2017) presents practices by the flip side of global, circulatory objects that traveled shorter considering religious networks of pilgrimage and bazaars. regional to guest lectures public talks and I organized Kama to accompany my graduate seminar “From Kant: Sense and Sensuality in South Asian Art,” thus expanding conversations on South Asian art history at the Institute and NYU. Discussions histories of aesthetic concepts of on intercultural of emotions and taste and sensation and the role sociability in medieval and early modern South Asia led Institute students and me into a world of unexpected comparisons, connections and also studied objects and artistic imaginations. We ideas during an exhaustive study session with Gallery of Asian Art, curators at the Freer|Sackler D.C. Washington y current projects, a book and an projects, y current art of place and exhibition, examine the landscape in early modern South Asia.

Professor Dipti Khera studying a large-scale Udaipur painting Udaipur Dipti Khera studying a large-scale Professor during a Museum, Udaipur, the collection of the City Palace from 2017. March painting conservation workshop, Dipti Khera Dipti of Department History, of Art Professor Assistant Art History Emerging from this research, the exhibition Passion this research, from Emerging for Place: Udaipur Painters in the City of the Rising 2020 Sun (working title), will be held in Summer-Fall Feeling of a Place: Art, Feeling of a Place: Art, The book, tentatively titled Eighteenth Century, Affect and Authority in India’s how we frame “place” in art centrally probes in Northwestern Udaipur India was and history. at the center of pioneering material and pictorial the bhāva, meaning experiments in presenting feeling, emotion and mood, of a place. By tracing of people, objects and ideas about the circulation the sensorial, embodied experience of space I question and poetry, place-centric pictures from the disciplinary boundaries that divide courtly, and Indo-British worlds. pilgrimage, mercantile The connections that painters established across politics, literature, of art, architecture, the spheres in turn, trade and religion, challenge the divisions that shape our disciplinary frameworks. Contrary to colonial and nationalist histories of decadent in lands, I find an art history of praise and place the persistent connections painters, poets and between affective phenomenon created patrons art and knowledge, and and efficacious desires, that politics and aesthetics. Recent publications include “Jagvilasa: parts of this project introduce and Power in of Pleasure Picturing Worlds Eighteenth-Century Udaipur Painting,” in A Magic to of Indian Painting (In Tribute New Visions World: Rajput Painting of 1916) Ananda Coomaraswamy’s Painted Mobile, Multilayered: (2016), and “Marginal, Invitation Letters as Bazaar Objects in Early Modern India” in Journal18 (2016). M

software, performance, light, movement, or software, internet—that over time. unfolds to the viewer particular Conserving these works presents and challenges, given their conceptual nature their use of components that extend well beyond art is traditional art materials. Technology-based sensitive to damage, loss, to be more considered installation than and incorrect misinterpretation, and a traditional artwork, due to its very specific of time, space, and concept. sensitive relationship subject to technical and Since these artworks are the technological obsolescence, it is often left to acknowledge, and respect conservator to identify, of the work itself. the conceptual nature a number of classically trained are Although there the United throughout conservation professionals is a dearth of individuals who are States, there this new form of art. capable of preserving field of contemporary of this emerging In recognition a training opportunity art and the need to provide for the next generation of art conservators, the Conservation Center is expanding its course offerings to include TBM art conservation. This new specialization, embedded within the established students to conservation curriculum, will require the disciplinary boundaries of computer cross science, material science, media technology, and conservation. engineering, art history,

s the field of art conservation has evolved s the field of art conservation has evolved significantly over the last 55 years, so too has the model for art conservation

the Conservation of Time-Based Media Art Media Time-Based of the Conservation

It’s About Time: Developing a Curriculum for for a Curriculum Developing Time: About It’s

A Christine Frohnert Conservator of Contemporary Art, Modern Materials, LLC and Media, Bek & Frohnert, Hannelore Roemich of Chairman of the Conservation Center; Professor Conservation Science Time-based media, also referred to as technology- Time-based media, also referred characterized by having a based artworks, are durational element—e.g., sound, slide, film, video, education. While traditionally, art conservation art conservation education. While traditionally, education and training has focused on mastering of problems to address specific treatments professionals individual objects—and on producing critical thinkers, collaborative partners, who are solvers—time-based media (TBM) art and problem graduates conservation education must produce who also maintain a high level of specialized a grant from technical skills. With support from Mellon Foundation, the Center is W. the Andrew developing a curriculum for the premier currently graduate-level education of TBM art conservators, which will be the first of its kind in the United States.

The Institute of Fine Arts Annual 2016-2017 28 The Institute of Fine Arts Annual 2016-2017 29 summer internships,summer fourth-year and a final specific Internship, to acquire the option offering of the education. stages skills at different Institute the Mellon-funded project As part of this in Time- Topics series the public lecture offered 2016, Art Conservation during fall based Media historians, by leading art ten lectures which included and conservators. These artists, computer scientists, the field, to promote the opportunity events provided between TBM professionals, to foster the dialogue the The impact and and to build a community. TBM conservation within and beyond the outreach the by can not only be measured profession themselves, but also by the success of the events series of the TBM lecture popularity of site visits students TBM art conservation Future video archive. benefit Conservation Center will at the Institute’s during this the network of experts established from development. first phase of our curriculum Rafael Lozano-Hemmer, artist, Mexico/Canada, and Institute student and session moderator Elizabeth Lyons. Rafael Lozano-Hemmer, Over the past year, the Conservation Center has been the Conservation Center year, Over the past the program’s a TBM curriculum within developing offerings New course MS/MA degree. existing dual practical, and for theoretical, options will provide conservation, training in media art technological and specialists in utilizing a coalition of experts film and video computer science, engineering, classes from Students will benefit preservation. other NYU graduate departments, through offered and Preservation Archiving such as the Moving Image of Computer Science, the Courant Institute program, and Program, the Interactive Telecommunications courses we will create Museum Studies. In addition, such as an overview specifically for our students, conserving various TBM course on collecting and instruction for students artworks, and offer individual art, light-based in kinetic with a special interest such as virtual technology, works, or any emerging formats include The most suitable teaching reality. classes, workshops, courses, treatment lecture The inaugural class will be launched in the fall of in will be launched class The inaugural 2018. Roberto, Andreina, two other CCA colleagues, and Roberto, Andreina, Connecticut College and students from professors City College– I was the graduate student and Grove the intern organize and as such, it was my job to cataloguing and cleaning among the undergraduate we also students. In addition to our main project, had the opportunity to learn types of about other spent two days at a museum in conservation. We century a 3rd helping to prepare Sardinia, Alghero, the nearby villa CE Roman opus sectile floor from of Sant’Imbenia for display and often after supper on would give presentations Roberto and Andreina CCA has worked on in the past, projects different Zeugma-on- including the Roman mosaics from of the the-Euphrates and the apse of the Church Mount Monastery, of St. Catherine’s Transfiguration Conservation Institute and Sinai. The Archeological and in- CCA opened my eyes to both the precision depth knowledge needed to work on conservation ability to work in a variety of as well as the required periods, and media. In addition, I honed cultures, learning a project to direct my skills as a leader, while still collaborating with other members of the team. of the I was able to spend the rest After Sardinia, summer working on the Institute-affiliated dig at the Gods in Samothrace. I Sanctuary of the Great

his past summer, I had the opportunity opportunity I had the his past summer, the Institute of Fine Arts to through programs participate in two archeological

The 2016 - 2017 Graduate Student Association

Ellen Archie Countries Two in Archaeology T MA Students Student Student Voices: Art History abroad. I spent the first half of the summer on I spent the first half of the summer on abroad. Conservation with the Archeological Sardinia put together by Institute, a summer program di Conservazione Archeologica, the Centro and Roma. CCA Roma, headed by Roberto Nardi Costanzi Cobau has been at the forefront Andreina and of some of the most important conservation with antiquities of the last projects restoration based at the we were thirty years. This summer, which houses local museum of Cabras, Sardinia nearby from ancient Nuraghic stone sculpture the 8th century Mont’e Prama, dating to around of giant warriors and BCE. These sculptures, once towers important to the Nuraghic culture, yet at some point in antiquity, marked a necropolis, possibly at the arrival of the Carthaginians, they Our objective was to catalogue, destroyed. were to try to and clean the pieces in order organize, the statues. Our team was made up of reconstruct

The Institute of Fine Arts Annual 2016-2017 30 The Institute of Fine Arts Annual 2016-2017 31 dementia sufferers and their caregivers. their caregivers. and sufferers dementia of Dorthe Berntsen,Speakers included professor of and director at Aarhus University psychology Research; on Autobiographical Memory the Center and research Djupdræt, head of Martin Brandt Gamle By; Henning Lindberg, at Den presentation and the department of living history head of the Den Gamle By; at department of reminiscence at Den Mathiassen, curator Engelhardt and, Tove elaborated This distinguished group Gamle By. their own methods and recounted their research storytelling to to using objects and approach Mathiassen’s patients. evoke memories from the recapturing around work in particular revolves qualities of the average, sights, smells, and tactile Danish interior, early-to-mid-twentieth-century coincides with the typical the moment in time that is memory bump. The memory bump patient’s period of memory making most prolific the brain’s young (usually during childhood, adolescence, and of adulthood), and often becomes a reservoir for some dementia patients. The reminiscence in returning dignity and power of reminiscence personhood to both patients and their caregivers as well was a central theme of the conference, art of the important role as a powerful reminder memories for individuals, historians play in reviving and societies. communities, cultures, included Dr. Other contributors to the conference Lily Henson, Chief Medical Officer of Piedmont and the Henry Hospital in Stockbridge, Georgia of the Piedmont Healthcare Chief of Neurology System in Atlanta; and, Mary S. Mittelman, Dr.P.H., and Support of the Psychosocial Research Director at the NYU Center of Excellence for Program and Brain Aging and Dementia and Research in the Department of Psychiatry at New Professor School of Medicine. Conference University York the highlights included visits to the Museum of Smithsonian the Cooper-Hewitt, City of New York; Museum Design Museum; and The Metropolitan also consulted with educators of Art. The group at The Museum of Modern Art and the Tenement Museum. the support of was organized The conference Alexander Nagel and Patricia Rubin. Professors located in Atlanta, Georgia, Piedmont Healthcare, support. generous provided

n 2012, a team of curators at the Den Gamle n 2012, a team of curators at the Den Gamle of By museum in Denmark and a group based in the Aarhus University researchers

Center on Autobiographical Memory Research Center on Autobiographical Memory Research began an innovative form of art therapy utilizing to engage dementia patients and period rooms in conversations intended to their caregivers evoke memories. In 2013, the team published their findings in the Journal and of Consciousness more Cognition, concluding that patients recalled autobiographical memories in immersive settings. to learn about this phenomenon, In an effort more between art and and to examine the relationship the Institute invited the researchers memory, their to present behind the Den Gamle By program work. The ensuing Memory Spaces Collaborative the Institute community an provided Conference opportunity to think about how an interdisciplinary and art historians might team of researchers low-cost therapies to spaces that offer create I Memory Spaces Collaborative Conference Memory Spaces Collaborative Sarah Mallory switched from being one of the most-experienced being one from switched of the least- to one in Sardinia, of a team members collaboration is on Samothrace but experienced At Samothrace, on this project. equally important students, With four other Stoa Team. I was on the and to clean the stoa foundation it was our job had originally map the blocks that catalogue and of initiates to the Mysteries stoa, where made up the and possibly sleep. God would commune the Great and shapes, dimensions These blocks, of different the the hill surrounding throughout scattered are hiding in long grass and under stoa foundation, often the blocks, we When we found and labeled trees. in order lab and use Arc-QGIS would go back to the and the of the area a good understanding to create was a necessary factor too, collaboration stoa. Here, At Samothrace, accomplished. in getting our projects I learned of context– how space the importance with meanings specific and place imbue an object I also learned in that area. to what has happened and 3D Arc-QGIS how technology like drones, photography can offer new ways into understanding of a site and objects. I am so grateful for the support because the Institute for arranging these programs– I am able to of my experiences in Italy and Greece, new veins of consider objects and histories through and in a new thinking and understand my research light. t the top of my list of reasons for for reasons t the top of my list of at the applying to the MA program Institute (to which I arrived as a Fulbright A PhD Students PhD Chaparro R. J. Francisco Curatorial Studies of Value The grantee in Museum Studies and Humanities) grantee in Museum Studies and Humanities) Museum of Art/Institute was the Metropolitan in Curatorial Studies curriculum. Established the late 1950s, the Curatorial Studies track combines courses at the Met with a mandatory for doctoral students, at nine-month residency the awarded the completion of which they are an Curatorial Studies Certificate. As I was still in my first Curatorial MA student when I enrolled Studies course years ago, finishing the program now as a PhD candidate is fulfilling a long-time personal goal. have the Students in the Curatorial Studies program option to pursue the internship institution other in an Museum, as suited to the than the Metropolitan my case, In research. of and field interests student’s Hispanic The at stage final this complete to applied I The 155th street. Society Museum & Library in West in 1904, is one of the few founded Hispanic Society, to museums in the U.S. devoted almost exclusively of Spain and the Hispanic world. the art and culture Not only that, the museum houses an extraordinary collection of works by Francisco Goya, which is so it is truly a the object of my doctoral research, perfect fit. The Hispanic Society is undergoing Currently, This includes of renovation. a deep process its corporative brand, making structural redesigning the galleries, changes in the building, re-arranging transitioning into a fully accessible online platform, and cataloging and digitizing its holdings. For a an Curatorial Studies resident, prospective came to the Institute of Fine Arts knowing knowing Institute of Fine Arts came to the education, to work in museum that I wanted I learned art historical knowledge bringing the

Last semester I was honored to intern Last semester I was honored in the Education Department at the Museum of Modern that engage visitors Art and help facilitate programs with a collection much studied in my coursework. my internship in Through I found a new interest assessment and evaluation, and the program as Institute supported me in continuing this work I’m an independent study this spring. The program Art. It’s Talk pilot initiative Let’s evaluating is MoMA’s accessible designed to make the museum a more the public place by offering informal opportunities for on to talk with museum educators about the works lives view and make connections to their individual them. By conducting front-end and the world around and unpack how this evaluation I’m able to record observation and visitors through is reaching program from interviews, understand the museum experience and work to make it a more perspective the public’s exciting, educational, and empowering place. lines between the blurred thesis on My master’s social practice art and museum education builds in greater on my experience at MoMA and explores positive can create depth how museum programming Thelma Thomas and change. My advisors Professor Met educator and NYU adjunct professor, Will Crow, have guided me in combining art history and museum my thesis project. education theory into praxis through Studying at the Institute informs my work at MoMA and vice versa, encouraging and continuing my difference a making and education museum in passion in our world with the power of art. in the classroom to a broader audience in museum audience in museum a broader to in the classroom our location in What I found is that galleries. the Metropolitan from the street across New York, the galleries into our Museum of Art, transforms the power to connect Museums have classroom. art, investigate who they are visitors with works of the world, and learnand how they fit into about and understanding society diverse ways of seeing de Philippe artists’ eyes. Professor through a strong museology class provided Montebello’s the inner workings foundation in understanding and impact on society, of museums and their conservation class Michele Marincola’s Professor emphasized the ability of art objects in museum frame. collections to tell stories in and out of the Theresa Rodewald Theresa Art” Talk “Let’s I

The Institute of Fine Arts Annual 2016-2017 32 The Institute of Fine Arts Annual 2016-2017 33 own part, this opportunity has pushed me to extend me to extend pushed has this opportunity own part, given and has dissertation beyond the my research in the scholar as an emerging to grow me the chance archaeology. field of classical for the supervisor work as a trench My specific urban park monumental of the city’s excavations particularly extraordinary me a has provided of The Mica the generosity experience. Thanks to , Agora Pool Project and Ahmet Ertegün South so-called “South our investigation of Aphrodisias’ of its kind in the study of the Agora” is one of the few today to implement refined, ancient Mediterranean practices within a large- scientific methodological is truly This approach scale excavation environment. to be all-encompassing unique, allowing our team major sector of the city as in our examination of this human settlement at we seek to better understand and synchronic both diachronic from Aphrodisias perspectives. and As we aim to finish our excavation of the pool I look this upcoming summer, environs surrounding to working with team members to prepare forward this end, To our publication of this particular project. of late completed a study of a group I have recently were 5th - early 6th century CE Ionic capitals that to the urban once part of a Late Antique restoration units such as these park. Sculpted architectural only limited is currently given that there rare, are quarried and carved evidence for the use of freshly of this period in marble in urban building projects my work offers modern As such, Roman history. the aesthetics scholars valuable insight regarding design in Asia Minor. of Late Antique architectural continue to investigate I will this study, Building from the various phases of the construction, restoration, complex, as of this major architectural and repairs an well as work with team members to complete place analysis of the many human activities that took and in this central sector of the city in both classical post-classical antiquity. valuable provide Our excavations at Aphrodisias new historical information, highlighting the city as an urban locus that was of continued importance from the Roman to Byzantine, and later Medieval periods. the value of our work extends beyond academia. Yet more brings together citizens from The project countries to work intensively in a than ten different truly communal, international in rural environment In doing so, team members come to learn Turkey. that are about traditions and understand cultures their own, and leave the dig from different remarkably each summer enriched by these encounters.

erving as an archaeologist for the NYU- erving as an archaeologist in Turkey led excavations at Aphrodisias over the past four years has been (and

continues to be) one of my most rewarding roles roles continues to be) one of my most rewarding as a doctoral candidate at the Institute. Given as a significant of Aphrodisias the prestige site of westernarchaeological Asia Minor, students the this Institute excavation offers unparalleled opportunity to study archaeological material first-hand and uncover new evidence for of the city alongside the life, art, and architecture both inside scholars from many preeminent This type of and outside the NYU community. experience, in which students conduct material- based analysis while also engaging in a dynamic uniquely academic environment, and robust allows us to apply knowledge that we have gained practices. For my to archaeological the classroom S Allison Kidd Excavating at Aphrodisias internship the offers Society at the Hispanic of curatorial levels in multiple of engaging possibility collection, access to a superb direct work and having public mission to an ambitious while also committing Harlem. As the community in within the Hispanic scratch to itself from redefines Hispanic Society of a and challenges the opportunities fully address in to witness museum, I feel honored 21st century Curatorial Studies resident, its transformation as a Institute alumnus--Dr. assisting Senior Curator--and Burke. Marcus Canterbury Canterbury of Chaucer’s critical edition a new an offered French) of Kay (Department . Sarah Tales and Centaurs” titled “Sirens innovative conference studies. Here queer theory and animal that blends Maxwell, Robert our own professors at the Institute and many more Alexander Nagel, Thelma Thomas, it is I say, bold new research—as producing are Ages and time to study the Middle an exciting Renaissance at NYU! of scholarly groundswell augment this current To a series of MARGIN offered activity, of Ovid in the Middle Ages seminars on the afterlife 2016-2017 and Renaissance for the a topic suggested for its relevance calendar, (Department disciplines. Stephanie Crookes across series with a talk on the of Classics) began the Latin in his elegiac works. Melissa style of Ovid’s the group’s (Department of Italian) guided Vise of medieval Latin versions subsequent translation in the work of proto- culminating of his poetry, the there, From humanist Giovanni del Virgilio. has tackled thematic topics including: group instances of “incestuous” object-love in the Roman de la Rose and the Ovid moralisé, and and bodies in metamorphoses of both words Commedia. It has been very encouraging to Dante’s the University presenting across see students from The group and teaching each other. research the disciplines of hosts students from currently and Art History, Italian, History, English, French, and we would be delighted to bring many more in our interested If you are students into the group. to get in touch. meetings, please feel free

ARGIN (Medieval and Renaissance and Renaissance ARGIN (Medieval Network) is Graduate Interdisciplinary for students student group a graduate

in any department at NYU with an interest in the in the an interest at NYU with in any department MARGIN’s Renaissance, or both. Middle Ages, collaboratively excited by working members are disciplinary as well with students of diverse believe that and firmly as temporal interests when is made stronger, their own scholarship perspectives and skills combined with the unique to get students, who might of others. Our goal is work, with each other’s not otherwise engage hope We together. talking, and working reading, will produce that these student conversations research. fruitful avenues for future of PhD students in the Department of A group years English began MARGIN in the 1990s, and for forum for students premier MARGIN served as NYU’s in the Middle Ages and Renaissance to interested ideas, host scholars, and collaborate with each share participation in the group About five years ago, other. collapsed. Last waned, and ultimately the group Medieval of NYU’s Hal Momma, then Director year, me and my co- asked and Renaissance Center, (Department of Italian), Travers Katherine organizer, the group. to reinvigorate in the Middle For the graduate student interested NYU is an Ages and Renaissance, at present, exciting place to be. Christopher Cannon incredibly working on (Department of English) is currently M Christopher Richards Christopher MARGIN

The Institute of Fine Arts Annual 2016-2017 34 The Institute of Fine Arts Annual 2016-2017 35 My first task was to document and differentiate differentiate was to document and My first task efficient and seeing in an organized what I was especially were condition reports as short manner, image an at the museum. I created encouraged letters condition issues, assigned glossary of and straps on the to the multiple components pilot harnessand formed a condition chart to approval, With the curator’s summarize what I saw. mechanically the corrosion to remove I proceeded with rot I consolidated the red the copper alloy. from the leather to which penetrates Cellugel, a mixture fluctuating resistance to form a thin film, providing structural support conditions and environmental without darkening or to the degrading leather object. I built a new mount for the staining. Finally, for easy access to the Tyvek, I designed the mount when it became too soiled so it could be changed the leather oils, and designed the shape of from in the the mount to mimic its shape when installed monoplane. This was important, because although over time, the leather was still pliable, it will harden position, it would need a and if not in the correct the leather to re-shape interventive treatment more for installation. over the along my other projects This treatment, confidence in my skills helped me to build summer, to a as an objects conservator and exposed me vast array of modern an inspiring materials. It was and summer filled with collaboration, flight, space, histories above our stratosphere. the heroic here is something altogether inspiring and inspiring and is something altogether here and something humbling about Space, about aviation and heroic incredibly T Joy Bloser Joy Conservation of Interning in the The Heroics Air and National Smithsonian’s Lab at the Space Museum Student Student Voices: Conservation When I received the pilot harness storage, it When I received from looked like a bleeding patient on a mess of white The harness was well-oiled as a collections Tyvek. practice as late as the 1990s and the oil was care leeching out onto everything with which it came into contact. Copper alloy rivets and snaps were with the leather to form tendrils of turquoise reacting and the leather itself was corrosion, and green – a condition issue common to rot succumbing to red vegetable-tanned leather. flight. To work at a museum where the two are two are the work at a museum where flight. To at times! I quite heroic combined? I felt myself spent last summer interning in the conservation one of two Center, lab at the Udvar-Hazy form the National Air and museum buildings that at the Smithsonian in Space Museum (NASM) D.C. I had the opportunity to work Washington in some heroic all seemingly on objects that were objects on mildly heroic were way; some projects engine or the prototype – like the first rocket were for a wind navigation instrument. Others 11 Apollo – like Neil Armstrong’s heroic incredibly space gloves, the Lunar Module, or the infamous Flakbait. One of my favorite WWII aircraft, a custom leather was treating however, projects, flight harness for the Blériot XI monoplane. French The Blériot XI monoplane was a celebrated could the early 1900s, and the aircraft model from the first a kit at home. Harriet Quimby, be built from States woman to be licensed as a pilot in the United the English and the first woman to fly solo across Channel, flew a Blériot XI. It was also the favorite loop” the “loop first the and pilots, aerobatic for plane plane ever performed in an airshow was done in the but the flight is on display, held at NASM. The aircraft harness he flipped upside that kept the pilot inside as harnessdown, was not, and it needed attention. The was specifically made for the pilot, with a 5-point attachment system, which was something quite unique for harness design at the time. he generosity and vision of the Samuel H. and vision of the Samuel H. he generosity Foundation has made it possible Kress for students such as myself to pursue emphasizing the three dimensional nature of its of nature dimensional three the emphasizing software 3D modeling using Additionally, surface. with 3D models RTI exported from to align imagery not feasible analytical visualizations allows additional alone. software in the RTI further this project fortunate to develop were We Expedition Sardis while working on the last summer our process able to refine were We in Turkey. taking which involves for integrated capture, data sets at once. The object photographs for both or couch leg, had four we chose, a marble table faces. Once back at the perpendicular carved Heath, with Professor Institute and in collaboration into a single surfaces RTI we integrated the four is an model. There photogrammetric high-resolution visually rich and detailed obvious benefit of allowing the off-season, when study of the object during material is limited. This follows access to the physical multiple model from the ability to view the 3D from angles and in various simulated lighting conditions imagery that reveals while incorporating RTI exceptional detail. A final stage entails producing that animations and single frame renderings and aspects of particular interest. emphasize areas we wanted to keep this In developing this project, in workflow accessible for conservators working To that museum photo studios and in the field. combined using Blender, end, the data sets were 3D graphics and animation an open-source equipment, and methods are All software, software. and widely accessible, and we inexpensive or free workflow for combining the established a repeatable of imaging techniques. The successful combination in this way opens a wide photogrammetry and RTI by range of possibilities for using a 3D model made range of photogrammetry as a scaffolding for a wide working on advancing currently are visual data. We multiband further by combining data from this project imaging. Sarah Mastrangelo Summer 2016 internship at the Kunsthistorisches Vienna Museum, T extraordinary educational opportunities in the field educational opportunities in the field extraordinary further my training in the of art conservation. To conservation of Old Master paintings I interned

n spring 2016, we both enrolled in a course in a course enrolled n spring 2016, we both Heath at the Sebastian taught by Professor of the Ancient World Institute for the Study

, Ancient World called 3D Modeling for the (ISAW) technologies used to digital in which we explored study ancient artifacts. As conservators working interested materials, we are with archaeological and in ways to study objects non-destructively for when access is limited. In our final project a 3D model that merged this course we created photogrammetry and an interactive Reflectance same file of the Imaging (RTI) Transformation that allowed for object in a single representation better useful integration of the two data sets and now understanding of the object. With the course Heath has Professor our collaboration with over, applying our of us are continued as the three field work archaeological method to objects from study and objects in the Conservation Center’s collection. two well-established are Photogrammetry and RTI by computational imaging techniques widely used Both techniques cultural heritage professionals. have also seen rapid adoption by archaeologists In and conservators working together in the field. of a single object images source photogrammetry, compiled to build many camera positions are from assembles multiple source a virtual 3D model. RTI a stationary camera images of a static object from into an interactive file with a changing light source any of the subject from that allows active relighting Rendering algorithms can visually enhance direction. surface detail and color to reveal the object’s that is difficult to detect with the naked eye. texture and photogrammetry facilitates more Combining RTI detailed study and visualization of an artifact that while highlights otherwise invisible features I

Emily Frank and Chantal Stein Chantal and Frank Emily ways sets in new data imaging Combining

The Institute of Fine Arts Annual 2016-2017 36 The Institute of Fine Arts Annual 2016-2017 37 folding lacquer screen dated to dated to kuan cai folding lacquer screen n the spring of 2016, I had the opportunity n the spring of 2016, I had the opportunity to work alongside objects’ conservator Christina Hagelskamp at the Metropolitan 1689-1690. This volunteer experience dovetailed 1689-1690. This volunteer experience dovetailed nicely with the Principles of Conservation by Jean Dommermuth course coordinated the various aspects of a ’96, which introduces the perspectives of from conservation treatment multiple material conservators across different specializations. built upon with Christina on this treatment Working in Chinese lacquer and gave me my personal interest when confronted an insight into her working process This included project. with an extensive treatment learning of custom-made about the preparation tools for working with sensitive lacquer surfaces, conservation materials, and the selection of different for a project necessary the logistical organization in Mandarin Chinese of this scale. My proficiency on the also enabled me to contribute to research techniques of the screen, materials and production in general. as well as kuan cai lacquer screens Over the course of six months, I benefited from knowledge of the materials and her Christina’s mentorship, and I am grateful for the opportunity to have worked with and learned her while I am from still new to the field of art conservation. Museum of Art on the treatment of a twelve- Museum of Art on the treatment panel I Soon Kai Poh 17th century kuan cai screen on a Work Art at the Metropolitan Museum of that appears even under UV usually requires further usually requires under UV even that appears unify the as to visually so areas in some thinning surface. my time at the Kunsthistorisches What made and the staff special were Museum particularly interns museum conservators I worked with. The and knowledge, with their time generous were enabling the other interns and myself to carry as a team. The effectively out our treatments during and skills cultivated fostered relationships an excellent internship.my summer made for My Foundation, has the Kress experience, thanks to at the Conservation complemented my education Center. While conservators across the board follow the same the board While conservators across ethical guidelines and impetus for action, different methods of treatment. institutions have preferred at the In terms of cleaning paintings, conservators varnishKunsthistorisches Museum typically thin the it. The collection as opposed to completely removing of years old and the paintings have is hundreds generally been – and continue to be – varnished which like mastic or dammar, with natural resins The museum’s easy to manipulate and remove. are public is used to looking at paintings with a certain patina and would be discontent with comparatively total from bright and colorful paintings resulting of the varnish. the varnishremoval While reducing of a small landscape painting titled Abendliche Dünenlandschaft by the Dutch Golden Age painter Jan Wijnants, I learned that one must balance a with an aesthetic one; a painting technical approach My time at the Kunsthistorisches Museum seemed to My time at the Kunsthistorisches Museum seemed in many pass in the blink of an eye as I was involved Conservation underway in the projects of the large I assisted Department. One of the long-term projects the onsite storage with was stabilizing paintings from space in the “Secondary Gallery” for transportation new offsite and permanent storage in their relatively involved major project Another storage facility. a number of works to go out on loan to the preparing - Nur Schöner Schein (Baroque fall exhibition Barock - Nothing but an Illusion) at Museum Zeughaus of the Reiss Engelhorn Germany. Museum in Mannheim, in the Paintings Conservation Department at the Department Paintings Conservation in the under the in Vienna Museum Kunsthistorisches For Chief Conservator. of Elke Oberthaler, supervision I had the two months, of approximately the duration conservators on working with talented privilege of and gain insight into projects interesting a variety of at the renowned and methodology used the materials institution.

In addition to the digitization project, each student each to the digitization project, In addition the at research his/her Cook-inspired presented both were The presentations end of the semester. MA student and art historical. historiographical meaning of the investigated the Kathleen Joyce of San Baudelio of Berlanga, perplexing Hermitage Spain. Cook of Soria, located in the province hermitage, and some of its investigated this small up in the in 1927, ended paintings, removed fresco and collection. PhD students Dustin Aaron Met’s the larger work within Cook’s Adam Dunlavy placed and scholars during network of American collectors focusing on patterns the early twentieth century, (Art Bulletin production of collection and scholarly a second-year Sylvia Wang, respectively. reviews), a group Studies, researched MA student in Museum role in medieval changing of crucifixions and their Cook’s Durling explored practices. Lauren liturgical significant involvement in building the photographic and I Library, collection at the Frick Art Reference to recontextualize several archives used material from in and emphasize his role fragmented legacy Cook’s during bridging Spanish and American scholarship is ongoing and is the his lifetime. This final project by Robert Maxwell. topic of my MA thesis, directed his archival legacy through Experiencing Cook’s students with a personal and material provided founding unique way to engage with the Institute’s faculty, Institute’s Thanks to the efforts of the director. scholars staff, and students involved in this project, will now have access to images that can provide and life of insight into the conservation, history, thousands of objects.

he Walter Cook Archive, a seminar taught a seminar taught Cook Archive, he Walter Robert Maxwell during the by Professor fall semester 2016, granted students

T Cristina Aldrich, MA 2017 MA Aldrich, Cristina Project Archive” Cook Walter “The The archival information the students found included information the students found included The archival with students and personal correspondence photographs of artworks, scholars, professional lecture trips abroad, personal photographs from notes. A notes, syllabi, and various other art historical scholar of medieval Spain, Cook amassed thousands both public of photographs of Spanish objects from taken and private collections, many of which were (1936- prior to the devastating Spanish Civil War by material (textiles, organized 39). The boxes were mural paintings, metal paintings, altar frontals, works, etc.), and by location. Students then scanned an and catalogued the contents in SharedShelf, enterprise-wide media management solution that digital collections enables institutions to share Jenni Rodda (Digital Media and Computer openly. Services) supervised this part of the course, and Nita Lee Roberts assisted students with digitization and digital capture. direct access to archives left by the Institute’s founding founding left by the Institute’s access to archives Cook (1888-1962). These W.S. Walter director, made up of personal and professional archives, arranged in sixteen boxes located material, were at the Institute and the Cloisters, Metropolitan Museum of Art. Special Projects Special Projects

The Institute of Fine Arts Annual 2016-2017 38 The Institute of Fine Arts Annual 2016-2017 39 Institute students Allison Young and Rebecca Cuomo Institute students Allison Young of borders not only in our field, but also in field, but only in our not of borders patterns of geopolitics, terms and of migration, questioned the operation We spatial privilege. concepts within these zones, how of language as bounds and transform linguistic transgress ways in which considered We new articulations. us to frees traditional geographies thinking beyond on different space and movement conceptualize place functions in how terms, and also explored identity and community. auto-constructions of and metaphysical were Boundaries both physical the space of and contested. Surveying confronted Boundaries went Crossing knowledge and ideas, we ourselves learnbeyond questions of how and knowledge comes this where teach to questions of and is acquired how art historical information from, media on transmission and the effect of presented, the parameters How do we negotiate and reception. In this grand renovation, of the “art world” itself? which walls need to come down? Which maintain we willing to structural integrity? How much are if everything deconstruct, and how will we rebuild to collapse? were began our program Designed to come full circle, of boundaries and ended questioning the nature of their demarcations. questioning the nature breaking sometimes over and under, Crossing might all the while we traced our steps. We through, of our movements as a view the choreography decide transitional map, now that time has come to we must go next. where

was conceived as as was conceived Boundaries rossing series of an informal and experimental scholars, curators, workshops in which

and artists of different backgrounds could gather could gather backgrounds and artists of different of art history is changing, to discuss how the field the course of four and evolving. Over growing, Institute of Fine Arts at the workshops presented Boundaries Crossing in spring and fall 2016, thinking—a place creative became a space for the various issues address to come together and and concerns academies and institutions face was to The aim the future. looking towards to expand generate dynamic ideas and resources, a more the scope of discourse, and to introduce multidimensional manner of thinking, studying, writing, and talking about art and art history. and of intergenerational The series was the product collaboration among: Patricia cross-disciplinary and Director Rubin, Judy and Michael Steinhardt at the Institute of Fine Arts; Alexandra Professor Samsung Senior Curator of Asian Art and Munroe, Senior Advisor of Global Arts at the Guggenheim Institute PhD candidate; Museum; Allison Young, Institute Rebecca Cuomo, Institute MA student; and PhD candidates Julia Pelta Feldman, Kara Fiedorek, Colleagues were and Madeline Murphy Turner. the world the country and around across invited from to engage in critical conversations and dialogical with exchanges not only amongst themselves, but members of the public who attended the workshops webcast. or tuned in to the livestream a range in April and May covered Workshops of complex concerns both the stemming from challenges and possibilities of expanding art terminologies historical discourse and practice. From departmentalization and methodologies to regional and global mega-shows, we sought to examine the internal of our field—to identify infrastructure and to theorize that needed improvement areas evolutionary alternatives. For the following sessions our focus in September and November we reoriented contemplating the long-term public impact outwards, of our work by contextualizing art history within a analyzed the meaning wider framework. We C unknown… Thus the absolute became knowledge. …in the end Poetics of Relation Glissant, —Édouard Rebecca Rose Cuomo, MA 2017 MA Cuomo, Rose Rebecca workshops Boundaries Crossing In this Section

CONTEMPORARY ART AT THE INSTITUTE ON DISPLAY

In this Section

CONTEMPORARY ART AT THE INSTITUTE “An Evening of Performance,” organized by Ksenia M. Soboleva “An Evening of Performance,” organized Institute of Fine Arts. at the and Madeline Murphy Turner Jesse Bransford, Clinical Associate Professor; Chair, Chair, Clinical Associate Professor; Jesse Bransford, Department of Art and Art Professions. Steinhardt must also be given to Tammy Special recognition of Planning and Communications, Director Brown, Department of Art and Art Professions; Steinhardt Coordinator, Program Senior Studio and Ian Cooper, Department of Art and Art Professions; Steinhardt the very the Collaborative from who have powered as beginning with passion and devotion, as well Finally, Madeline Murphy Turner. my co-coordinator Exhibitions and many thanks go out to Ben Hatcher, Department Steinhardt Installation Administrator, Web Jason Varone, of Art and Art Professions; Media Manager at the Institute; and and Electronic Steinhardt devoted faculty and staff from numerous and the Institute of Fine Arts.

nitiated in the summer of 2014, the NYU nitiated in the summer of 2014, the NYU a Curatorial Collaborative aims to create Steinhardt’s dialogue between artists from

Ksenia M. Soboleva and Madeline Murphy Turner, co-coordinators of the NYU Curatorial Collaborative co-coordinators Ksenia M. Soboleva and Madeline Murphy Turner,

studio art program and student curators from the the and student curators from studio art program eight Institute of Fine Arts. Each academic year, the Institute work closely together students from a total of to produce seniors BFA with Steinhardt’s show in the Commons six exhibitions: one group Gallery of the Barney five smaller Building, and space of the 80WSE Gallery. shows at the project opportunity for the The Collaborative is a great Institute students to gain curatorial experience and to interact with young artists, who are exploring endlessly varying methods through which to communicate their art. The dedication and of the curators and the artists to motivate In one another is what fuels this project. inspire conjunction with the exhibitions, two catalogues published that contain essays written by the are artists’ work. Furthermore, curators on the BFA a downtown panel discussion is organized in addition to an uptown mini- by Steinhardt symposium at the Institute. These events provide all those involved with a platform on which they can discuss the fruits as well the challenges of the collaboration. This initiative would not have been possible without the unwavering support of I Ksenia M. Soboleva, PhD candidate Soboleva, Ksenia M. Curatorial Collaborative

The Institute of Fine Arts Annual 2016-2017 42 The Institute of Fine Arts Annual 2016-2017 43 Way Out / Away Out Out / Away Way Installation detail, to create the show’s theme, prevalent were the the were prevalent theme, the show’s to create chance, and an common notions of ambiguity, material and ideas. Most in recycled interest Anna and Phoebe’s were important, however, on its audience with the effect in their work’s interest unique individual experiences. possibility of creating Out became a true collaboration Out / Away Way by between Anna and Phoebe, with contributions and former NYU students Madeline other current While and Justin Faircloth. Geller, McCormack, Torin videos and performed in two of Anna’s Justin starred the were twice during the week, Madeline and Torin sound-based motion-sensor, minds behind Phoebe’s interactive painting. Way Out / Away Out Out / Away Way

s an incoming Masters student, the NYU s an incoming Masters student, the NYU Curatorial Collaborative not only allowed me to become immediately involved

Haley S. Pierce at the opening of Haley S. Pierce A Haley S. Pierce, MA candidate Pierce, S. Haley Out Away / Out Way With support from the Institute’s Coordinators Coordinators the Institute’s With support from and Ksenia Soboleva, along Madeline Murphy Turner Coordinator Senior Studio Program with Steinhardt’s to rein given free as curators we were Ian Cooper, an exhibit alongside our artists. plan and create For me, this was a chance to truly play off the word BFA “collaborative,” working closely with Steinhardt and Phoebe Honors students Anna Marchisello new Louise Randall to formulate a show that featured work and incorporated varying types of media and performance. Drawing upon similarities in both artists in the Institute of Fine Art’s community, but it but it community, in the Institute of Fine Art’s an opportunity to gain valuable also offered field I plan experience in the career professional about to pursue upon graduation. First hearing the Collaborative at my own accepted student’s drawn to the Institute as an I was instantly day, real- educational center that also emphasized world learning, the chance for students providing to understand all aspects of curatorial practice with artists to plan a while working directly exhibit in a gallery in New York comprehensive City. While main artistic decisions were left to Anna, how necessary and important the artist’s input is in Phoebe, and myself, the addition of other students considering the exhibition of their own work. added to the teamwork-based concept of the overall project, and allowed for further programming in the Through color, sound, and juxtaposition of form of performance to be possible during the week media, we attempted to create an exhibition that of the show. was both balanced yet stimulating, active and reactive, changing and ephemeral, and an overall A learning experience on all parts, Anna, Phoebe, group endeavor. Thanks to the NYU Curatorial and I planned and executed our exhibit with common Collaborative, I had the opportunity to forge goals in mind. Because all new work was created for academic and professional connections University- the show, we ultimately had the freedom to produce wide, and took a confident step in the direction of a very intentional space, resulting in a unique exhibit my career goals. that changed throughout the week. More than anything, this experience allowed me to understand the evolving role of a contemporary curator, and

Curatorial Collaborative Exhibitions 2017

25 January “VESTIGE(S)” Curated by Desiree Mitton and Lisa Orcutt The Commons at 34 Stuyvesant Street

7 February “1:30 Playdate” Curated by Megan DiNoia 80WSE Gallery Project Space

14 February “Digital Surface, Mutable Apparatus” Curated by Regina Harsanyi 80WSE Gallery Project Space

21 February “Way Out / Away Out” Curated by Haley Pierce 80WSE Gallery Project Space

28 February “Systems Flow” Curated by Julia Bozer 80WSE Gallery Project Space

7 March “Terrace House” Curated by Eva Jensen 80WSE Gallery Project Space

24 April “An Evening of Performance” Curated by Ksenia M. Soboleva and Madeline Turner Institute of Fine Arts, Loeb Room The Institute of Fine Arts Annual 2016-2017 45 artist James Perkins. Pat requested to meet the artist James Perkins. Pat requested artist, as she has on a number of occasions, in conceptual installations, her interest revealing filled work, “One Percent,” Perkins’s in particular. of fake upon rows the lower display case with rows Rolex watch, hidden Rolex watches. A single real making among the ranks, was almost undetectable, the the work a conceptual tease. Laughing with real one, Pat and artist, as she tried to find the James formed an easy bond, discussing ideas the of how we assign value, how we understand and how art is in everything. It person in the crowd, a common bond: was only later that they discovered alums. Yale both are fortunate the past few months, we were Throughout to have installations by artists whose activism has given rise to unique perspectives. English eye, caught Pat’s performance artist Kate Corder her because of the documentary photographs of spent several years walking around work. Corder and Airport, finding traces of its history, Heathrow of engines next under the roar ancient horticulture, to expanding runways. Nona Faustine, who met with some collectors, critics, and students one afternoon, and the discussed her work on female identity, generations, African American experience through in her series: Mitochondria. Her work was expressed by the Studio Museum in Harlem, recently acquired star is rising, prior to showing at the Institute. Nona’s and she has been the focus of curated exhibitions at Smack Mellon, and other venues. VOLTA,

uring the last four years, I have curated a uring the last four years, I have curated a series of exhibitions in the Display Cases at Duke Hall Staircase on the Great

Jean Shin’s photomontage sketches of 2nd Avenue subway installation were on view at the Institute in April, 2017. subway installation were photomontage sketches of 2nd Avenue Jean Shin’s D Lisa A. Banner, PhD 2006 Banner, A. Lisa Cases The Great Hall Stairway This past spring, for example, Pat responded This past spring, for example, Pat responded immediately to the installation of the exhibition I Fugit, howcasing installations by called Tempus Several times, she has written about her response Several times, she has written about her response to the cases, and the newest installation in the always on point, Duke House Diaries. Her remarks, for art of all kinds, and her show her abiding respect in a engagement with the ideas being expressed flexibility on issues of history, variety of forms. Pat’s have made her a identity and patronage memory, wonderful, quiet advocate for this series. During this time, Pat has taken an active interest in During this time, Pat has taken an active interest there, the contemporary art and the artists shown the commentaries, and meeting several of reading about the artists. She has sent personal remarks between several of the exhibitions, astutely reading aspect in the lines, and finding an exquisitely unique her observations. House, with the unwavering support of Patricia House, with the unwavering support of Patricia Director Rubin, the Judy and Michael Steinhardt of Art of the Institute of Fine Arts, and Professor History.

Mitochondria Elevated Nona Faustine: Peter Hristoff: Silhouettes Tempus Fugit James Perkins: Tempus 3 April – 19 May 2017 Kit White: Kappus 2017 19 May – 15 September The Great Hall Stairway Stairway Hall Great The Exhibitions Cases 2016-2017 Mitochondria Nona Faustine: – 1 November 2016 28 September Peter Hristoff: Silhouettes January 2017 1 November 2016 – 11 Fugit James Perkins: Tempus 11 January – 3 April 2017 Jean Shin:

These new visions for what the Institute can be have come to fruition with the encouragement and all grateful for her role support of Pat Rubin; we are as Director. These artists bring their responses to the contained These artists bring their responses space of the Display Cases, and reveal and restricted sides to the Institute that have been cultivated by Rubin. They connect the intellectual and Professor lived cultural experience of the historical to the real, art and its place in history and our cultural life. Jean Shin, who designed murals for the new subway Jean Shin, who designed murals for the new her brought subway, station along the 2nd Avenue donating before photomontage sketches to share, permanent collection. The them to the MTA’s and hearing process, privilege of seeing an artist’s has about it during the Annual Artist Discussions by Pat, to allow the singular voice of been fostered as it culture our present an art historian to reinterpret happens. Quietly, other members of the Institute community members of the Institute other Quietly, exhibitions in the Display also have enjoyed the Kopcke, who Günter Cases, including Professor painter Piers Secunda, and has befriended British Artist Discussions; and attends all of the annual who took the Darius Segure, Chief Security Officer, afternoon,opportunity one Sunday to visit with artist the political implications James Perkins, and discuss The work consisted of an behind his installation. strait jacket fashioned from elegant custom-made uniforms. Perkins had one of Perkins’ old work woolen Wall tailored transformed his elegantly suit, and adorned it with silk and leather trim Street of his old Hermès belts the remnants from reworked role on his and Ferragamo ties to fashion a final word the in business. The brief video of Perkins wearing the case onto the from strait jacket was projected an RIF cube video player wall behind, and ran from the man within the case. The brief documentation of how in the suit transformed into the man revealing work he felt about the suit commented on ideas of the strait Perkins wore restraint. luxury and and duty, from jacket only once, to document his departure an artist. as he embraced a new life as Street Wall grew from his from grew Silhouettes Hristoff, whose Peter to figures silkscreened of making long practice a colorful series in paintings, showed be included Artist while he was the first created of silhouettes of Art, Museum at the Metropolitan in Residence Duke Foundation. by the Doris sponsored

The Institute of Fine Arts Annual 2016-2017 46 The Institute of Fine Arts Annual 2016-2017 47 House Exhibitions The Duke Sergej Hansen, Josh Faught, with Julia Bland, Channing Intertwined, online. more Read 2016. Jensen, Fall online more Read 2017. Spring Roots/Routes, Spice Glow, Beatrice The Great Hall Exhibitions online. more Read 2016. Martha Friedman, Some Hags, Fall online more Read , Spring 2017. and Repeat Kim, Rejuvenate Lucy ON DISPLAY IN 2016 – 2017 IN 2016 ON DISPLAY In this Section

SPOTLIGHT ON ALUMNI IN THE WORLD

creation process remarkably contemporary. Each contemporary. remarkably process creation and by committee made, probably decision was be traced discussion, and can of degree with some the final product. through artists and designers I teach Students, especially the framework well to this investigative at Pratt, respond well beyond buildings. A that can be extended “Contemporary Art in the successful class has been This serves as a survey of Greek Ancient World.” on periods when and Roman art, but concentrates from and visibly different art was changing rapidly Discussions of before. what had come immediately can focus on the independent architecture Archaic in limestone and order developments of the Doric in Athens. The merge Ionic in marble that eventually can highlight red figure to black figure shift from advantages of painting in wet clay the expressive a vitrified surface. rather than engraving through used to best effect, the visible How materials are decisions made by artists within contractual clear signs of invention and new requirements, with young makers—and solutions all resonate them that artists in the ancient past lived remind decisions of their own present. among the pressing

ll these years later, and I’m still working still working and I’m ll these years later, question The on my two-week paper. so I outlined, researched, was clear,

A Peter De Staebler De Peter the Institute earnedPeter De Staebler his PhD from Art History of is now Assistant Professor, in 2006. He Pratt Institute and Design, Alumni Alumni in the Field This focus on reconstructing individual decisions This focus on reconstructing the the architect’s, the patron’s, – which were limited by the materials, by workers? Which were by funds? – makes the design and labor supply, wrote sections 1 and 2… then the two weeks sections 1 and 2… then the two weeks wrote up. Happily these sections made it were into my dissertation, but for word nearly word and thinking frustratingly the bulk of the reading was I’d done was for section 3. Specifically this going to have been about the design significance monolithic columns in late Roman of recycled understand as I now broadly, buildings but, more it, about the “building experience”. This has become a useful catch-all term that describes and during construction decisions made before about materials and techniques, location and scale, form and style, and functions. Which made first; what aspects are decisions were to the materials; and what other social or inherent cultural factors may have influenced the design?

The Institute of Fine Arts Annual 2016-2017 50 The Institute of Fine Arts Annual 2016-2017 51 but just a year after graduating from the Institute, I the Institute, from graduating a year after but just to do. with a lot full curator was a fulfilling. Over extraordinarily proving And it has all seminar- of lecture-note-taking, all those years I had and dissertation-writing, talk-delivering, topics—and quite the list of exhibition accumulated many of them. I would explore is my chance to here and object-researching love to hand off letter-writing to pass off be hard to an assistant, but it would and assembling that crafting exhibition didactics thumbing relish exhibition draft. I even preliminary chips. The collection Sherwin Williams paint through Most pieces yields fascinating finds daily. research but each discovery research, significant require The Bechtlers collected in a brings a thrill or twist. to my own take on modernway that is simpatico art, the experimental, and the celebrating the unusual, when artists challenged the unexpected, particularly and we have a sculpture Yes, expected hierarchy. buttons painting by Giacometti, but we also have the coat; a knob—a he made for an Elsa Schiaparelli Frank; delicate female head—cast for Jean-Michel gorgette. and an unsettling necklace, part pelvis, part Alicia Penalba an have a Fernand Léger tapestry, We a 1966 Tinguely kinetic work, and a stunning brooch, 1929. I have done a show Le Corbusier painting from on the intersection of modern modern art and design I am planning and another on artist-designed jewelry. modern artists one on tapestries and Western of working in India. Despite the specific parameters the collection, I am finding innumerable permutations and variations on the theme of modernism, itself a miasma of methodologies and media. And to top it all off, this was my first full-time job I since I started graduate school 15 years before. getting my doctorate, before had a full, other career have been the Curator at Since 9 June 2015, I of Modernthe Bechtler Museum Art in Charlotte, significant The job presented North Carolina. young The relatively challenges on paper. 2010— museum—the Bechtler opened 1 January when its had not had a curator since the first year John Boyer, inaugural Curator died unexpectedly. and CEO, had imported shows, the President guest curators, and oversaw a number of hired installations, but the exhibition calendar was suddenly blank beginning in August of 2015, to two short months after I started. I needed in 1,200 square four shows a year—two organize of feet—with a staff feet and two in 8,400 square two, a Collections Manager and an Exhibitions their own full task both of whom had Manager, 1,600 sheet. The permanent collection comprised by a Swiss assembled works, mostly on paper, 1950 to 2006—when the collection family from was donated to the city of Charlotte. A quirky personal assembly of artists and objects, as most the ranged from the roster collections are, familiar (Alberto Giacometti, Alexander Calder, Roy Lichtenstein, Max Ernst, Riley) to Bridget the exciting (Niki de Saint Phalle, Jean Tinguely, da Silva, Bernhard Luginbühl, Maria Hélène Vieira Max Bill, Gunther Haese) to the regionally Maud Brunner, Hansjürg (Italo Valenti, obscure Adolf Lena Leclerq, Gatewood, Robert Gessner, Luther). With little lead time to assemble the and shows and even less manpower to research loans, the bulk of my artwork comes from request our vaults. Jennfier Sudul Edwards earnedher PhD in 2014. Edwards Jennfier Sudul Modern Bechtler Museum of Art Curator, She is now Jennifer Sudul Edwards Sudul Jennifer

y time in Louisville is perhaps best y time in Louisville is perhaps best by my encounter with represented a painting by one African-American artist who studied at the Hite Art Institute at the at the artist who studied at the Hite Art Institute University of Louisville: Bob Thompson. Shortly I moved down to Kentucky I first saw before the Museum of Modern work at Thompson’s of the End of Description Art. His St. Matthew’s one day (1964) suddenly appeared the World hallways, and I was hanging in one of MoMA’s was a immediately riveted on the spot. There to the airborne group figure compelling reference at the bottom of the central axis in Michelangelo’s Last Judgment, transformed by colors, lines, Munch, and brushwork of Paul Gauguin, Edvard Matisse, which were and even Henri James Ensor, done strangely thrilling and intoxicating. It was until a with abandon. I was seduced. It was not that Thompson few months later that I realized Louisville and took studio classes in the was from and painted. In fact, my students drew building where I also learned Krautheimer first taught at that Richard he came to teach at our the Hite Art Institute before Institute of Fine Arts. It was Krautheimer who hired Justus Bier. Germany, from professor another refugee the Louisvillian Thompson It was Bier who introduced was some to modern art. It felt like there European deep cosmic connection of Jews, homosexuals, in fear of leading a and blacks. I fled South Korea homophobia. Studying at life ruined by my people’s Linda the Duke House, a Jewish, feminist scholar, Nochlin, saved my life as an art historian. M Jongwoo Jeremy Kim Jeremy Jongwoo his PhD in 2007. He received Kim Jongwoo Jeremy University of Art History, Professor is now Associate Art (2017- Historians of British President, of Louisville; 2019)

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Sometimes, when I think of the four shows I need I need the four shows I think of when Sometimes, 12 months, in the next nothing from to materialize anxiety. the chest will collapse from I feel like my out would be set 24 months I swear that we Didn’t in two really anniversary? Is that at my two-year to responsive I can be nimble and months? But changing environment— and the constantly trends ways I couldn’t and cultural—in political, aesthetic, always is There established institution. at a larger, variety and pace is too much to do, but the times when I yearn to be are addictive. There each with a single show one of a dozen curators, jostling for calendar, on a museum’s somewhere But then, the hectic whirl of space with my peers. I need to contact day sweeps me back: my present out the 152-piece Lay a speaker! Draft a proposal! the press Approve show opening in two months! weeks! in three for the exhibition opening release I had dinner with last night Confirm with the couple costs for that that they will cover conservation 30 works for to borrow Can we afford sculpture! exhibition next spring? that already-expensive is good. this Yes,

The Institute of Fine Arts Annual 2016-2017 52 The Institute of Fine Arts Annual 2016-2017 53 our curatorial staff of three, including Michael Brown Brown Michael including of three, staff our curatorial all were (PhD 2008), Plotek 2011) and Ariel (PhD of the now the Museum the Institute); and from fellow await the arrival of my I (where Islamic Art been able to museum, I have alums). At each as the such some very public projects, contribute to art, as well as some galleries for Islamic new Met’s exhibition such as an personal significance, of more on which I wrote of India on the Deccan, the region in the social interest my my dissertation. Throughout, of art has of works the creation context surrounding and writing. For instance, my research grounded Ancient from exhibition, Epic Tales my most recent Museum of The San Diego India: Paintings from behind the selection of Art, considers the meaning commission, and examines certain literary works for as well as the illustrations of these manuscripts on the text. (Qamar images’ implied commentary to this catalogue.) Adamjee, PhD 2010, contributed was While the intellectual challenge of art history me into the field, what I am what first propelled several unanticipated benefits. most grateful for are how art history would also quite realized I hadn’t the take me on international and provide adventures in such a deep cultures chance to experience foreign to and meaningful way—by giving me an excuse sites, speak to travel to out-of-the-way architectural and visit their homes; to look behind local residents the world, meet the scenes of museums around lives in colleagues and learn about their professional great to handle countries; and now, so many different in world figures works of art made for or by great history. the support all of this I have benefitted from Through of mentors—starting with my Institute advisor, Priscilla Soucek—who took a chance Professor on letting me assist in exhibitions and oversee In return I I was ready. publications, perhaps before careers, try to help any students starting out in their passing any IFA’ers and I would be glad to hear from Doha. through itting in my office in in Doha, I am amazed in in Doha, I am amazed itting in my office and humbled by the path on which my the Institute has led me. from degree Since graduating in 2007, I have been fortunate Since graduating in 2007, I have been fortunate collections institutions with great to work in three of Islamic or South Asian art—the Metropolitan I constantly saw Institute Museum (where graduates) the San Diego Museum of Art (where Marika Sardar received her PhD in 2007. She is received Marika Sardar Curator for South Asia, Museum of Islamic surrently Art, Doha. S Marika Sardar Thompson faced racism in Kentucky. I did, too. I did, too. Kentucky. racism in faced Thompson Institute— the Hite Art teaching at have been And I first alma mater and Krautheimer’s Thompson’s to have my first enough American workplace—long “Comrades this fall. In his 2011 article, sabbatical we are writes, “Today, Groys of Time,” Boris itself without as it reproduces present stuck in the Our Orange Man ensures future.” leading to any transforms asserts, Groys The present, this now. of both past rewriting into “a site of the permanent historical of constant proliferations and future—of individual grasp or control.” narratives beyond any time” can valorize life wasted But this “unproductive, normative definitions by (“being-in- time”) unfettered indicates, and I may add, as Groys of social utility, to the history of corrupt men. by compulsory service end spectacle of jubilant Recalling Thompson’s against nation, and kingdom times (“nation shall rise I travel between Kentucky against kingdom”) as dots—Louisville state with two blue the deep red I make home with is one—and Connecticut where for the Steve and Ryan (now a high-school junior!) (and last thirteen years, I have this to say: RESIST! and the country, works around go see Thompson’s men’s stop by to see me for bourbon and tales of Downs.) fashion at Churchill In this Section

ACADEMIC PROGRAMS ART HISTORY ARCHAEOLOGY CONSERVATION Master of Arts is intended for students MA program The Institute’s their writing and who wish to further develop pursuing a PhD before of interest academic areas in with a developed interest as well as for students the visual arts who wish to earnadvanced degree an The without the commitment to a doctoral program. useful for students interested will prove MA degree in art museums, galleries, auction houses, in careers site cultural centers, arts foundations, archaeological or management and development, art conservation, eventual doctoral work in art history or archaeology. is two years of full-time study or three The program years of part-time study for those with established who wish to continue working careers, professional while attending the Institute. to a wide range of questions and approaches approaches of questions and to a wide range of courses that both a combination through students issues and allow major historical introduce research. by conducting in-depth to specialize their studies opportunities to pursue Students have in fieldwork. Research-led in museum settings and equip students to teaching and close mentoring specialist fields and in work critically and creatively of areas to broader approach to take a sophisticated art historical inquiry.

Doctor of Philosophy to students prepares PhD program The Institute’s and conceptualize, plan, and execute ambitious and to make contributions projects original research is designed for six years to scholarship. The program in of full-time study for students without a Masters students Art History or five years of full-time study for exposed Students are with a Masters in Art History. About to graduate of Fine Arts is dedicated The Institute art, in the history of advanced research teaching and technology the conservation and and archaeology, encourages students of works of art. The Institute material investigation to excel in historical and close looking and critical and to develop skills in a focused provide programs thinking. The degree by interaction experience supported and rigorous and access to New York’s with leading scholars, archaeological museums, curators, conservators, and MA Global Network. The PhD sites, and NYU’s a course of study at the Institute offer programs who wish to investigate the designed for individuals detailed, through of the visual arts in culture role and object-based examination, as well as historical in program The dual-degree interpretation. theoretical of its kind conservation and art history is the only one in the nation. Study at the Institute the Institute at Study

The Institute of Fine Arts Annual 2016-2017 56 The Institute of Fine Arts Annual 2016-2017 57 Curatorial Studies Certificate is This component of our doctoral program jointly by the Institute of Fine Arts and The offered Museum of Art. The course of study Metropolitan to four years completion of three normally requires The certificate of study in our doctoral program. in include a paid nine-month residency requirements department, and participation curatorial a museum’s curatorial studies courses: Curatorial in the offered Studies: Exhibition Practices and Curatorial Studies: Collections and Curating. Past exhibitions that have in these courses: Man, Myth, and been featured Renaissance; The Jan Gossart’s Sensual Pleasures: of Khubilai Khan: Chinese Art in the Yuan World 828–1797; and the Islamic World, Dynasty; Venice of Bohemia, 1347–1437; and Prague, The Crown the new installation of the New American Wing. Curatorial Studies alumni have held leadership art foremost positions at some of the world’s institutions, including The Art Institute of Chicago; Boston Museum of Fine Arts; The Frick Collection; Art Museums; J. Paul Getty Museum; Harvard Museum of The Metropolitan Library of Congress; London; Philadelphia Museum Art; National Gallery, of Art; and the Smithsonian Institutions. time faculty, many of whom serve as conservators many of whom serve as conservators time faculty, prestigious City’s and scientists at New York museums. Students gain intensive conservation experience Students gain intensive conservation experience and laboratory work, projects research through as well as advanced fieldwork and a nine-month, capstone Internship. encouraged to They are obtain additional conservation experience during excavations or other formal summer archaeological courses in The Center also provides work projects. connoisseurship and technical art history for those and archaeology, pursuing studies in art history, intended to acquaint curatorial studies, which are of works of art, and them with the physical structure as well as the possibilities need for preservation, and limitations of conservation practice. Classes are distinguished full- and part- taught by the Center’s The Institute’s Conservation Center is dedicated Conservation The Institute’s to the study of the technology and conservation of works of art and historic artifacts. The Center in conservation students for careers prepares that program dual-degree a four-year, through with combines practical experience in conservation curatorial, and scientific art historical, archaeological, works of studies of the materials and construction of art. While earning and MS in their MA in art history projects, conservation, students undertake research of laboratory work, and seminars in special areas conservation, such as advanced x-ray techniques of modern and the treatment and contemporary paintings. Master of Science in of Conservation/Master Art History Art in IN THE FIELD

Aphrodisias, Turkey The Institute of Fine Arts Annual 2016-2017 59

Selinunte, Sicily Selinunte, Sicily Selinunte, the Classical Selinunte was famous throughout world for the richness of its farmland and monumental temples. It enjoyed a prosperous the second half of the seventh existence from century the middle of the third century BCE through BCE, and its sanctuaries, temples, fortifications, In 2007, the Institute well preserved. and houses are of Selinunte began its excavation on the Acropolis of the main focusing on the area in western Sicily, The colony. urban sanctuary of the ancient Greek as well excavations document the social history, of an ancient and visual culture as the architectural has city in unusually fine detail. Fieldwork to date important evidence concerning provided the already Greek history of Selinunte prior to the arrival of the and colonists, as well as significant finds of pottery originally dedicated as votive offerings in sculpture the sanctuary area. Samothrace, Greece Samothrace, in the the Institute has worked Since 1938, of Gods on the island the Great Sanctuary of most significant Home to one of the Samothrace. era, the Sanctuary mystery cults of the Hellenistic dedicated buildings marble innovative of series a has seminal in the which are by Hellenistic royalty, Current architecture. and Roman formation of Greek on the performative heart addresses research Stoa, on the Theater, centered of the Sanctuary, using 3D modeling In addition, and Nike Precinct. we have reconstructed and photogrammetry, to understand its several the Sanctuary digitally path of the initiate through phases and follow the 9, The Samothrace Volume its complex topography. Monuments of the Eastern Hill, is due out in the fall of 2017. Abydos, Egypt Aphrodisias is one of the most important Aphrodisias and Roman sites of the Greek archaeological major one of NYU’s and has been periods in Turkey since 1961. The city was projects archaeological and for famous in antiquity for its cult of Aphrodite It enjoyed a long, prosperous its marble sculptures. the second century BCE through existence from the sixth century CE, and its buildings, marble well remarkably and public inscriptions are sculpture, excavation focuses on the The current preserved. excavated and conservation of previously recording monuments, establishing permanent systems for documentation and conservation, new targeted and publication. research excavations, and scientific Aphrodisias,Turkey Abydos, Egypt Abydos, in an ambitious long-term The Institute is engaged the important site investigation of archaeological of Abydos in southern Egypt, an effort now joined and Department of Art by Princeton University’s Abydos is known as the burial place Archaeology. primary first kings, and later became the of Egypt’s ruler of the Land of the cult place of the god Osiris, aim to build a comprehensive Dead. The excavations core understanding of the ancient activities in the of the site, how patterns and meaning of practice of Abydos to evolved over time, and the relationship context of Egyptian history and culture. the broader The Institute offers a unique experience to offers a unique experience The Institute a range of sponsored through its students are discipline any of Students projects. archaeological seasons, in annual excavation invited to participate with object-based their historical studies to enhance research. Institute Institute Supported Excavations

ole. With the particular e are in the business of in the business of e are being and knowledge production, of Graduate Studies a Director

W gives you a clear view of the whole factory at of the whole factory at gives you a clear view on knowledge report merely don’t work. We that comes though established elsewhere, knowledge; we produce produce into it. We working with students professors it together, in that are and with other colleagues. We sciences known as the part of the research sciences, Humanities, which, unlike the hard devoted less to establishing truths than are believe in to enabling understanding. We facts to do our job, but the truth, we require our starting point in trying to come facts are to an understanding of cultural artifacts—

ALEXANDER NAGEL OF FINE ARTS PROFESSOR The Director of Graduate Graduate of Director The Meta-Mentor as Studies

The gift of being Director of Graduate Studies is that you get to work at another level, which I call meta- of Graduate Studies is that The gift of being Director conversations with our dissertation writers, have regular joys of the job to mentoring. It was one of the great As one moves farther and farther beyond coursework, from my own. whatever the field, often in fields far Sometimes students become satellites orbiting far isolated. it becomes easier to find oneself increasingly the DGS is like a call from in danger of falling out of orbit. A call from the academic world altogether, from yet within the discipline that defined my r Houston. It was my being outside the field I consider myself a good teacher—not one of the gifted teachers that people memorialize for their I consider myself a good teacher—not one of I study and I love sharing it with others. But charisma, but good because I love the material classroom giving strategic advice to younger colleagues, helping them move from I think I am better as a mentor, published, helping them bring into focus the contours of an area seminar papers to something that might be of study. on their relatively in teams. Everyone remains conduct our research sciences we don’t Unlike the hard there this way, own. It is possible to imagine alternatives working in to this model, but as long as we are and meta-mentors. also need peer groups than students with teachers and mentors. We need to be more diagonals. Knowledge requires their combination of the generic and the particular, their resonance with other artifacts, their historical with other artifacts, their historical their resonance particular, their combination of the generic and the the last decade. past as well as from the remote study material works from life. We who to one side, students had the ability to talk to someone dynamics of the student-mentor relationship was, for themselves and for those in other in knowing what the import of their topics really was interested and writing, and research tips on how to find time to write, how to balance fields. Often, I simply offered or that chapter— other practical bits and pieces. I found myself imposing informal interim deadlines for this it was that dissertation writers crave having them! One of the students I met with decided and discovered among themselves—and she started a group. important for dissertation-writers to meet regularly

The Institute of Fine Arts Annual 2016-2017 60 The Institute of Fine Arts Annual 2016-2017 61

he position of Director of Master’s Studies (DMS) was created as part of the present as part of the present Studies (DMS) was created of Master’s he position of Director at the Institute. The new position was ably filled successively Studies of Master’s program and who fashioned many guidelines Robert Lubar and Katherine Welch, by Professors

EDITH KITZMILLER PROFESSOR OF THE HISTORY OF FINE ARTS OF FINE OF THE HISTORY PROFESSOR EDITH KITZMILLER TRACHTENBERG MARVIN Thoughts on a Year as Director of Masters Studies as Director Year a Thoughts on T One of our strategies was to variously shift these phases to points earlier in the two years of study, so that phases to points earlier in the two years of study, One of our strategies was to variously shift these now ask students, for example, rushed as little as possible. We the thesis formulation and writing would be the spring semester of their first year rather than the possible thesis advisers in to confer with one or more the most significant step was to establish a set of MA thesis-writing But perhaps following fall semester. period (last semester of the second year). These weekly workshops to run during the actual thesis writing Halsted, Julia (Allison Kidd, Lyla of our PhD program conducted by four very able members sessions were their to help many students significantly in producing seemed Feldman, and Tianyuan Deng). The process graduate teaching experience. theses, as well as giving the instructors valuable which produced would note has been the admissions process, The other aspect of my work as DMS that I exceptionally talented new students who have accepted our offer to of group what appears to be a large study the Institute beginning this fall. and satisfaction on my part in doing what I could of much pleasure In all, the year has been as source who in general to assist the capable Institute staff, but above all in working with our wonderful students, than is evident in the public media. I look hope for the future give members of advanced generations more to my second year. forward procedures necessary to the program. In my first year as DMS last year (2016), I realized that some that some year (2016), I realized In my first year as DMS last necessary to the program. procedures that had problems and procedural certain administrative fine-tuning would be useful in resolving of with the capable and dedicated administrative staff gradually become evident. I worked closely Hoang. Our main concern the MA Conley Lowrance and Lisa was to improve the Academic Office, formulating and engaging a faculty adviser, identifying a topic, in virtually all respects: thesis process but not least the actual writing. its various aspects, and last researching articulating the project, Spring 2017 The Art of Destruction of the History Mia Mochizuki, Associate Professor and The Institute of Fine Arts of Art, NYU Abu Dhabi 500th anniversary of the On the occasion of the Reformation (1517), when Martin Luther boldly the posted his ninety-five theses on the door of a timely it is perhaps of Wittenberg, Castle Church of destruction in the moment to consider the role has of art. After all, as long as there interpretation coming has been iconoclasm, a word been art, there (klân) and compound of breaking the Greek from images (eikon). Reformers of all eras have sought to decapitate, maim and otherwise “erase” objects. long view of iconoclasm as the active a Taking of objects by objects, this course interrogation the frankly will consider the power of art from perspective of “applied criticism,” object-centered Using a selection of censorship and renunciation. the Parthenon to museums, — from object failures ancient Buddha heads to contemporary news has media — this colloquium will investigate what technologies of picture- happened when different the making clashed in civic discourse, pushing point and to its breaking rhetoric of representation more. thus laying the foundation for invention once include lineage and cyclical regeneration, will Topics memory and ruin, and preservation, protection economies of sight, mimesis and the miraculous object, fragments and the ambiguous illusion of the whole, senses and the infinite hermeneutic, and the inadequacies of the eye, and the rupture hydra of immediate, interconnected hundred-eyed Evaluation us today. media images that freeze by active class participation, in-class discussion and brief leadership, oral PowerPoint presentations historiographical papers. from dissertation-writers to incoming MA students, dissertation-writers to incoming from up over the invited to work something who are summer. The Institute’s curriculum is vibrant and varied. Below are highlights of the 2016-2017 course of the 2016-2017 highlights are and varied. Below curriculum is vibrant The Institute’s can be courses past and present A full list of of the 2017-2018 offerings. a preview listings, and web site. Institute’s found on the

Beginnings and endings have gone out of fashion Beginnings and endings the Humanities. Few in Art History and across these days, scholars or curators go out of their way, of art to draw period lines or define zones and styles And yet this does seem to make ours an production. We live in identifiable period, academically speaking. and contingencies, of gray areas an academic culture An embrace of to labels and generalizations. allergic of the and mobility is the order mixing, multiplicity, raise some concerns—namely, It is enough to day. that that all this leaves the old narratives in place; it makes it difficult to have a meaningful field-wide debate; that the air of détente can only confirm weak and gathering opinion that the Humanities are irrelevant. quite rid This course is for people who can’t themselves of the idea that important changes happen in the history of art, sometimes suddenly. are It is for people who suspect the material they are studying is involved in just such changes, and how to go about saying so. It is for anyone not sure could who wants to understand better how artworks have anything to do with such historical abstractions of course as periods and styles. Closet Hegelians are welcome. This colloquium is an advanced study that starts intensive with a paper and aims to put it through and of presentations round-robin work in a repeated The discussion, sustained by common readings. will be participating with a paper of his professor be admitted to this course, students should own. To submit a paper at least ten pages long on a relevant topic. This course is open to students of any level, Fall 2016 about Epochal Need to Talk Advanced Study: We Shifts Fine Arts Alexander Nagel, Professor Art History Course Art History Highlights Course Highlights Course

The Institute of Fine Arts Annual 2016-2017 62 The Institute of Fine Arts Annual 2016-2017 63 Spring 2018 1914- Recalibrating the ‘American’ in American Art, 1945 Lowery Stokes Sims, Curator Emerita, Museum of Professor Visiting Arts and Design; Kirk Varnedoe Over the last four decades art history has been and revelations subject to any number of revisions that have sought to expand what effectively of artists and works of constituted a canonical roster arts. This course will focus on the story of American art between 1914 and 1945 that has been the of art historians and scholars such particular interest as Erika Doss, David Driskell, Daniel Cornell and Michelle Mark Dean Johnson, Delphine Hirasura and of the discussion is based McGeough. The approach on an on-going dialogue between Lowery Stokes this interest. Sims and Norman Kleeblatt who share Reflecting the specific dualities of this era when Americans entertained positions of isolationism and internationalism, this course will examine a of works of art and selection of the usual roster movements that have come to define this era in Precisionism, American art history (i.e. regionalism, American Abstract Artists) Transcendentalism, alongside the work of artists and movements to the seventeenth centuries, with special focus on focus on with special centuries, seventeenth to the Rubens, Patinir, Bosch, van der Weyden, Rogier some of the These are Dyck. and Van Clara Peeters of new research have been the subject painters that del Prado over the held at the Museo and exhibitions last 15 years. students his experience with will share The professor explain the possibilities and as a curator and he will art history in a large by practicing constraints offered be clear that our end goal museum. But it should work, but about the is to think not about museum will cover and about how to art and artists that we their art. When, as art and find meaning in interpret academia to viewpoint from historians, we shift our become central: art works a museum, two concepts on works of art entails the and the public. The focus and isolation. On the risk of de-contextualization the exploration of the field other hand, it encourages to understand the effect of aesthetics, in an effort on that art has on us. A consequence of focusing to find the public is that it encourages art historians in art, and to communicate it in ways that relevance intelligible and evocative. are This seminar will examine the art and the careers of This seminar will examine the art and the careers the fifteenth of Flemish art from leading figures Fall 2017 Hands-on Art History: Curating Flemish Paintings at to Rubens van der Weyden the Prado from , PhD 1994; Senior Curator of Vergara Alejandro Flemish and Northern Paintings, Museo European Nacional del Prado On Modernism’s Reception of the Art of the Insane: Reception of the On Modernism’s der Geisteskranken, to Art Bildnerei Prinzhorn’s From Outsider Art Brut, to Contemporary of Fine Assistant Professor Kent Minturn, Visiting Arts will begin with a This graduate-level seminar Foucault’s from analysis of excerpts thorough we trace here (1961). From Madness and Civilization of our topic and the attempt to yoke the prehistory the Romantic period to and madness from creativity when ideas about pathology the late-19th century, and degeneration begin to dominate, as evinced Ceserae Lombroso in the writings of Max Nordow, and Michel Reja. Then we will examine evolving attitudes about the art of the insane as expressed study of Aldolf Wölfli Morganthaler’s in Walter der landmark Bildnerei (1922), and Hans Prinzhorn’s to Geisteskranken (1922), giving special attention avant-garde on the European effect latter study’s especially Paul Klee and surrealists, and French Degenerate Art Max Ernst. After considering Hitler’s of Exhibition (1937) we will look at the resuscitation “discovery” art brut, and the our topic in Dubuffet’s art brut collection of Dubuffet’s eventual relocation 1951 to 1962. In the final few weeks to America from of Roger of the semester we will consider the impact first english language publication of the Cardinal’s book devoted to our subject, Outsider Art (1972), in art brut and of interest resurgence and the current as the art of the insane in contemporary practice, “Encyclopedic exemplified by Massimilano Gioni’s Biennale. Palace,” included in the 2013 Venice Conservation Course Course Conservation Highlights Fall 2016 Science Strategies for Natural Conservation Collections American Julia Sybalsky, Associate Conservator, and Fran Ritchie, Project Museum of Natural History; American Museum of Natural History Conservator, to a general students This course introduces and methods in the overview of consideration materials found in conservation of the diverse Students complete natural science collections. in which they will projects 2-3 major independent all aspects of treatment, be expected to complete analysis, and documentation. including examination, and hands-on sessions include lecture(s) Weekly of project in-class review components with regular Topics readings. and discussion of required progress include: mammalian and ornithological covered taxidermy; invertebrate collections; skins, hides or other animal materials; bone and osteological mounts; paleontological specimens; fluid collections; and geological materials.

considered outside the artistic mainstream but but mainstream the artistic outside considered and events the main reflected nevertheless which on how American will focus concerns of this era. We constituted by debates on what art was informed of immigration, identity in the wake the American rural life, and between urban and the dichotomy militant dynamics of an increasingly the economic the migration (particularly in light of labor class Americans to the north of populations of black Midwest the from opportunity and seeking greater of a prolonged to the devastations in response drought). a positive and for As we examine the search by African American artists affirmative imagery as of the New Negro) (who formed the generation of primitivism and they navigated the mechanics look to the southwest ancestralism, we will also and Native artists of Latino descent where with establishing grappling American artists were traditional their own visual vocabulary both from will also note vernaculars and modernistones. We uncannily II were War how the intimations of World by artists at the same time that Japanese perceived Americans—victims of one the most extreme manifestations of xenophobia in this country— that experience a unique art from produced lastly indicating the triumph of the human spirit. And of the we will examine works that point to a new age the from that would emerge and the profane sacred of artists displacement and disruption of populations II. War individuals during World and creative in The focus of this course is particularly timely global challenges of dealing with light of the current diversity and inclusion. It will also seek to correlate the non-canonical narratives of American art that have been developed Wars between the World in various intellectual communities and demonstrate to the the commonalities of these stories relative this canon as well as their particularities. Inevitably in art history is seen in opposition kind of revisionism the to notions of connoisseurship, which has been of art historical analysis. So this qualifier bedrock will be a constant element in our discussions of the various works of art as we continually adjudicate the to importance of social context for art in relationship the “masterpiece” complex of art history.

The Institute of Fine Arts Annual 2016-2017 64 The Institute of Fine Arts Annual 2016-2017 65 Spring 2018 Non-Invasive & Other Imaging Technologies Methods Of Analysis British Fellow, David Saunders, Honorary Research Museum students to non-invasive The course will introduce analysis techniques and their advantages and disadvantages when used in conservation. We and will look at the questions asked by curators best addressed conservators and how these are in using the range of equipment typically available the introduce will facilities. Lectures small or large earlier principles of analytical techniques, reinforcing studies teaching in Instrumental Analysis I & II. Case works will include technical analysis of materials in of art and in studies of the deterioration of objects painted and will focus on works of art on paper and will include optical, covered surfaces. Techniques transmitted light and video microscopy, fluorescence imaging, multi- and hyper- imaging, fluorescence raking light reflectography, spectral imaging, infrared mapping (PTM), optical imaging polynomial texture tomography (OCT), spectrophotometry, coherence X-ray fluorescence, gloss measurement, colorimetry, emphasis The spectroscopy. Raman and infrared use will be on gaining practical experience in the to of results of techniques and the interpretation complement an understanding of their principles and the course students will be Throughout strengths. the subject with around engaged in critical reading may include the preparation discussion. Exercises audiences or aimed at different of written reports of multi- specializations as well as critical reading multidisciplinary papers. Each student will be author, to practice the planning, assigned a special project of a non-invasive execution, and presentation examination process. Practical Problems of Preservation: Conservation of of Preservation: Practical Problems Decorative Objects Organic Michele D. Marincola, Sherman Fairchild of Conservation; Distinguished Professor Museum The Metropolitan The Cloister, Conservator, La Villa of Art (part-time); Conservation Consultant, Pietra students with an The course is designed to provide to the technology and conservation of introduction materials, organic from decorative objects created bone, horn, tortoiseshell, with an emphasis on ivory, assigned two to Each student will be and hair. objects for examination and/or treatment. three of identification, methods chemistry, The relevant of these related material history and facture conservation, materials, as well as their appropriate Themes of the course include the reviewed. are composite objects made from challenges of treating sensitive materials; the original environmentally appearance and function of the objects; and how changes in their condition coupled with our aesthetic influence their conservation. Artifacts perceptions collections comparable to those being in New York possible. examined by the class where are treated Fall 2017 This course introduces students to the current to the current students This course introduces the regarding research knowledge and recent and care, preventive identification, degradation, and rubbers found in conservation of plastics modern art and design objects. and contemporary laboratory sessions demonstrations, and Lectures, the physical and allow participants to understand to define and assess of plastics, chemical properties and active preventive deterioration, and to plan issues such as including conservation measures, bridges This course display. handling, marking, and aspects of conserving the gap between the practical these materials and the physical-chemical principles underlying their degradation. Spring 2017 Spring of Plastics Physical Properties Scientist Emerita, Oosten, Conservation Thea B. van Agency of the Netherlands; Cultural Heritage in Professor Distinguished Visiting Judith Praska Studies and Technical Conservation 2016 - 2017 GRADUATES

Da Hyung Jeong “A Double Modernism: Soviet Architecture Reconsidering Period, 1953- of the Post-Stalinist 1991” Faculty Advisor: Jean-Louis Cohen Angel Jiang* in Naples: “Guillem Sagrera and the Stones of Mallorca In-Between” Architecture Maxwell Faculty Advisor: Robert H Johns Clarence Covers of “Pop Icons: The Album Andy Warhol” Faculty Advisor: Thomas Crow Kathleen Robin Joyce* “Jasper Johns: Printmaking as a of Doubt” Technology Faculty Advisor: Robert Slifkin Soyoung Kim Continents: The “Homes Across of Do Ho Suh and Nomadic Touch His Art” Faculty Advisor: Kent Minturn Jessica Eileen Kitz “The Art of Letter Writing: Personal Letters in the Visual of the American Civil War” Culture Faculty Advisor: Robert Slifkin Sofia Constance Kofodimos* “Collages in Motion: The of and Dispersal Transformations Moticos” Ray Johnson’s Faculty Advisor: Thomas Crow Naomi Pauline Morley Kuromiya* “Sekai-sei vs. Universality: Aspirations for Bokujin-kai’s Relevance” (1951-60)” “World Faculty Advisor: Kent Minturn Paintings to a Discursive Field” Faculty Advisor: Jonathan Hay Lauren L Durling Lauren to Integrate” Desire “Dali’s Robert Lubar Faculty Advisor: Ellis L Edwards Sanctity of “Out of the Ashes: The Post-War Modern France’s Art in Chapels” Faculty Advisor: Jean-Louis Cohen Mariam Saleem Farooqi Using the Guardians: “Grotesque to Explore Mansurah Bronzes Hybridity Indo-Islamic Sculptural in Medieval Sind” Barry Faculty Advisor: Finbarr Flood Katherine Ann Halcrow “Monumental in the Making: The and Roman Development of Greek Structures Water” Faculty Advisor: Clemente Marconi Connor Hamm Benjamin “Unsettle the Score: Patterson, Fluxus, and the Post- Impulse in Art” Visual Faculty Advisor: Thomas Crow Regina Sarah Harsanyi “The Early Cinema of Exhibition: in the Gallery Space Projection Between 1921-1952” Faculty Advisor: Robert Slifkin Qing Huang as “Cinematic Representation Fudong” History (Re-)Making Yang Faculty Advisor: Jonathan Hay Bettina Anna Jackson Cantador and “Engagement, Temporality, Mediation: Luca Giordano’s Apotheosis of the Spanish Monarchy” Faculty Advisor: Alexander Nagel

Cristina Sol ArnedoCristina Sol Aldrich in the “Catalan Romanesque on Making: New Perspectives W.S. the Contributions of Walter Cook” Maxwell Faculty Advisor: Robert Tiffany Maria Apostolou and of Space “Altering Perception to Byzantine Place: An Approach Two Churches” Mosaic Effects in Thomas Faculty Advisor: Thelma Archie Ellen Margaretta Dionysian of Tryphe: “The Triumph Themes on Luxury Goods From Ptolemaic Alexandria” Faculty Advisor: Clemente Marconi Paige Allyn Bart* “An Uneasy Alliance: The Role Museum of of the Metropolitan the the Identity of Art in Forging Museum of Modern Art” Faculty Advisor: Philippe de Montebello Rebecca Rose Cuomo* Being Notes on “BLACK MATTER: & & Becoming / Black Women Brazil” J. Faculty Advisor: Edward Sullivan Maria Fernanda Dominguez* “The Portraits of Epifanio Garay: Intersections Between Painting and Photography in Nineteenth- Century Colombia” J. Faculty Advisor: Edward Sullivan May 2017 Master of 2017 Master May and Arts Graduates Thesis Titles 2016 - 2017 Graduates 2016 - 2017 Graduates

The Institute of Fine Arts Annual 2016-2017 68 The Institute of Fine Arts Annual 2016-2017 69 Icon of the Holy Mary: A Tapestry Icon of the Holy Mary: A Tapestry Hanging in the Cleveland Museum of Art 1967” Advisor: Thelma Thomas Laura Panadero “The Role of Material Experimentation in Irving Penn’s Nudes, 1949-50” Holben Ellis Advisor: Margaret *Indicates an MA thesis marked with distinction May 2017 Master of 2017 Master May Master of Arts and Dual-Degree Science Graduates and Thesis Titles Emily Hishta Cohen* The Botanical “Wild Women: Artists of Late Nineteenth- and Early Twentieth-Century in North Wildflower Field Guides America” Advisor: Thomas Crow Harral Joseph DeBauche “‘Stud-Horse Frames’ Put to The Deframing of the Pasture: Guggenheim” Advisor: Colin Eisler Rebecca Gridley* della Labors: Luca “Luca’s Methods, Working Robbia’s and Medici Magnificence” Works, Advisor: Patricia Rubin Shannon Mulshine* Pyramids: A “Roy Lichtenstein’s Study in Perspective” Advisor: Thomas Crow Bermet Nishanova “A Late Antique Christian Textile Linda Yun Linda the Politics in Media and “New of Hito Steyerl” Works Kent MinturnFaculty Advisor: Theresa Kathryn Rodewald Kathryn Theresa Mark the Box: “Rebuilding Gates, Theaster Bradford, and the Museum Education, of Art Work Collaborative Accessibility” Thelma Thomas Faculty Advisor: Kelley Elizabeth Stone an Elite Model: “Circling and Evaluating the Continuity By The Adaptation of the Tumulus Roman Empire” Welch Faculty Advisor: Katherine Espinosa* Tescaroli Luis Andres Salome: “Gustave Moreau’s Ornament, Theatrics, and Deadly Phantasmagoria” Thomas Faculty Advisor: Thelma Molly Katharine Thrailkill* “Coding the Message to America” Faculty Advisor: Robert Slifkin Anna Toptchi* “Reaffirming the Phenomenological: Experiences and Geography in of Environment Icelandic Contemporary Art” Faculty Advisor: Kent Minturn Sarah Beatrice Vogelman* “Remembering and Preserving: The Realities of Political Violence of Maria in the Early Work Fernanda and Doris Cardoso Salcedo” J. Faculty Advisor: Edward Sullivan Vorsanger Rachel Lynn of “The Bi-Continental Surrealism Remedios Varo” J. Faculty Advisor: Edward Sullivan Mengqi Xu Cart (Transport “Panche Tu Painting) in the Northern Song Dynasty (960-1126): Meanings and Possibilities” Faculty Advisor: Jonathan Hay Jared Quinton* Jared “Man Made Materials: Rene Pena and the Racialized Body” J. Faculty Advisor: Edward Sullivan Jiete Li* Painter Ming Courtesan “The Late ‘Super-Brand’: Ma Shouzhen’s of Inauthentic The Contribution a Discursive Field” Paintings to Jonathan Hay Faculty Advisor: Kunhua Liu* Deities “A Study on the Painting The Western Descending To Mountain” Sacred Hay Faculty Advisor: Jonathan Loomis* Augusta Helen Cooper Language and “The Lucid Dream: the Art of James Turrell” Crow Faculty Advisor: Thomas Elizabeth Grace Lyons and Cezanne: Lantier, “Frenhofer, in Artistic Genius and Failure Art Nineteenth-Century French and Literature” Faculty Advisor: Kent Minturn Lisa M Machi* “Selective Identity Formation of the Caucausian Processes Through Expressed as Elite Iberian Glyptic Art” Faculty Advisor: Katherine Welch Mallory Sarah Walsh “Placing Dutch Realism in Global Landscapes: Printed Images of Dutch Mauritius, c. 1600” Faculty Advisor: Mia Mochizuki Park JuWon “Music-Image Interplay in A Movie by Bruce Conner” Faculty Advisor: Ara Merjian Lillian Stoner and Classical “Hair in Archaic Art: An Anthropological Greek Approach” Faculty Advisor: Clemente Marconi Vrooman Jason Andrew Nabi the Threshold: “Crossing Depictions of Men in Public, Spaces” Private, and Pretend Faculty Advisor: Linda Nochlin Allison K. Young and Most Whole’: On the “‘Torn in the Art of Poetics of Difference Zarina Bhimji” Faculty Advisor: Thomas Crow

Jeongho Park and the Art of “El Greco Portraiture” Faculty Advisor: Jonathan Brown Lindsay Anne Peterson “Building the Home Front: The Lanham Act and the Modernization of Housing in the United States” Faculty Advisor: Jean-Louis Cohen Prakash Christine Tara “Statues of the ‘Other’: An Examination of Three-Dimensional in of Foreigners Representations Ancient Egypt” Faculty Advisor: David O’Connor Blanca Serrano Ortiz De Solorzano “Between Limit and Possibility: Art in Cuba During the Special Period” J. Faculty Advisor: Edward Sullivan Peter Bell defending his dissertation in May 2017

Peter Jonathan Bell “The Reinvention of the Bronze Statuette in Renaissance Italy: Material, Facture” Presentation, Faculty Advisor: Alexander Nagel Kara Fiedorek “Priests of the Sun: Photography and Faith, 1860-1910” Faculty Advisor: Robert Slifkin Matthew Hayes Saw: “What Burckhardt Restoration and the Invention of the Renaissance c.1855-1904” Faculty Advisor: Patricia Rubin Sean Alexander Nesselrode “The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Century” Twentieth J. Faculty Advisor: Edward Sullivan May 2017 PhD May Graduates and Dissertation Titles

The Institute of Fine Arts Annual 2016-2017 70 The Institute of Fine Arts Annual 2016-2017 71 Sarah Walsh Mallory, MA 2017 Mallory, Sarah Walsh program in the doctoral Enrolled of Fine Arts at The Institute MS 2016 Eve Mayberger, Fellow in Mellon W. Andrew The Objects Conservation, Boston Museum of Fine Arts, PhD 2017 Sean Nesselrode, of Latin Assistant Professor Visual American Art History and Rhode Island School of Culture, Design Jeongho Park, PhD 2017 Assistant Curator of European Art, Blanton Museum of Art, The University of Texas Prakash, PhD 2017 Christine Tara Near Post-Doctoral Research, Eastern Studies Department, Johns Hopkins University PhD 2017 Lillian Stoner, The Fellow, Niarchos Stavros Museum of Fine Arts, Boston PhD 2017 Allison K. Young, New Post-Doctoral Fellow, Orleans Museum of Art Saira Haqqi, MS 2016 Saira Haqqi, Conservator, Book and Paper Historical Society Minnesota MA 2017 Regina Harsanyi, Wallplay Associate Director, 2017 Matthew Hayes, PhD Pietro Paintings Conservator, Society for Art Edwards Conservation 2017 Da Hyung Jeong, MA in the doctoral program Enrolled Arts at The Institute of Fine Angel Jiang, MA 2017 in the doctoral program Enrolled at Columbia University Kathleen Robin Joyce, MA 2017 Assistant, Department Research of Drawings and Prints, The Museum of Art Metropolitan Sofia Kofodimos, MA 2017 Subject Specialist and Cataloger, The Museum of Modern Art MA 2017 Naomi Kuromiya, Assistant for The Mark Research Fine Art Moeller Project, Tobey Jiete Li, MA 2017 Education Department Intern, National Gallery of Art Annika Finne, MS 2016 Mario Modestini Fellow in Paintings Conservation, Yale University Art Gallery MA 2017 Katherine Ann Halcrow, in the doctoral program Enrolled University at Oxford Connor Hamm, MA 2017 in the doctoral program Enrolled at UCLA Amy Brost, MS 2016 Amy Brost, The Media Conservation Fellow, Museum of Modern Art MA 2017 Ellis Edwards, Assistant to Larry Gagosian, Gagosian Gallery Cristina Sol ArnedoCristina Sol MA Aldrich, 2017 program in the doctoral Enrolled of Fine Arts at The Institute MA 2017 Archie, Ellen Margaretta in the doctoral program Enrolled at Emory University 2017 Peter Jonathan Bell, PhD Associate Curator of European and Paintings, Sculpture Art Drawings, The Cincinnati Museum Placement Placement of Select 2016 and 2017 Graduates

In this Section PUBLIC PROGRAMMING

The Institute of Fine Arts Annual 2016-2017 72

The Institute of Fine Arts Annual 2016-2017 73

Nadine Orenstein, The Drue Heinz Curator in Charge at the Metropolitan Museum of Art at the Metropolitan The Drue Heinz Curator in Charge Nadine Orenstein, on April 26th, 2017. Cook Lecture W.S. speaking at the annual Walter IN DISCUSSION e Walter W.S. Cook Annual Lecture W.S. Walter by the is organized Cook Lecture W.S. The Walter in honor of Professor Alumni Association Institute’s of the Institute of Fine Arts Cook, Founding Director and historian of Medieval Spanish Art. , Drue Heinz Curator in Nadine Orenstein , Department of Drawings and Prints, The Charge Museum of Art Metropolitan Segers and Rembrandt, the Eccentric Title: Hercules and the Traditionalist Guo Jue, Barnard College An Funerary Program: Title: Locating the Dead in a the Case of Baoshan Perspective in Archaeological 2 (316 B.C.E.) Tomb University Zoe Kwok, The Art Museum, Princeton Art: An Exhibition Title: Banqueting in Early Chinese at the Princeton University Scheduled for Fall 2019 Art Museum Lai, Academia Sinica Yu-chih Literati Baimiao Title: The Encountering between Drawings 白描 and European Micki McCoy, History of Art Department, University of California, Berkeley Astral Diagrams of the Xixia Title: Thinking through and Liao Graduate Center and The Lü Pengliang, Bard Museum of Art Metropolitan Title: Continuation and Innovation: Chinese Bronzes (1271-1368) Dynasty of the Yuan , Department of East Asian Languages Sophie Volpp Department of Comparative and Literature; University of California,Literature, Berkeley Recession: Honglou meng and Title: Touching Juanqin zhai on our web site. on our web archive please see the events about events at the Institute, information This list includes events held between 1 September 2016 and 31 May 2017. For mor and 31 May 2017. 1 September 2016 events held between This list includes

Ellen Huang, University of California, Berkeley A Title: The Materiality of Jingdezhen Porcelain: History George Fan, independent scholar George Collection Title: The Chinese Imperial Bronze Project Research China Project Workshop China Project is Workshop Established in 2011, The China Project on topics in a discussion forum for work in progress and art history. Chinese archaeology

María Magdalena Campos-Pons Nicole Eisenman Leslie Hewitt Jennie C. Jones 2016-2017 Artists Artists at the Institute location in one of the Institute’s advantage Taking art centers, the Graduate leading of the world’s their Student Association invites artists to discuss work at the Institute. Begun in 1983, these talks gift in memory of now funded by a generous are the who inspired Kirk Varnedoe, Institute professor series. Archaeological Research at Aphrodisias Research Archaeological members of brings together This annual lecture to discuss their excavation team the Aphrodisias recent their most results from research findings and trip to the site. Roland by was presented The Fall 2016 lecture of Classical R. R. Smith, Lincoln Professor Director, University of Oxford; Archaeology, Excavations at Aphrodisias Annual Lecture Series, Colloquia, Colloquia, Series, Annual Lecture and Consortia Public Programming 2016-2017 Public 2016-2017 Programming

The Institute of Fine Arts Annual 2016-2017 74 The Institute of Fine Arts Annual 2016-2017 75 Archaeological Research at Selinunte Research Archaeological director, brings together the project’s This lecture and other members of the team Clemente Marconi, the from research to discuss their findings and Selinunte excavation in Sicily. by Clemente was presented The Fall 2016 lecture in the Professor James R. McCredie Marconi, University Art and Archaeology; History of Greek Excavations at Selinunte. Director, Professor; Seminar on Greek and Roman Art and Seminar on Greek Architecture and Roman Art and The Seminar on Greek their current invites scholars to share Architecture gratefully We with the community. research acknowledge the support of James R. McCredie University Center for Ancient and the New York Studies for making the Seminar possible. Classical Nathan Arrington, Assistant Professor, Art & Archaeology, Department of Archaeology, Princeton University Title: Style and Status in Early Athens of History of Art, Ann Kuttner, Associate Professor University of Pennsylvania Spectatorship, Performance, Title: In Stony Mirrors: and Roman ‘Historical Relief’ the Institute lecture series. María Magdalena Campos-Pons was one of four artists to speak at the Institute. Campos-Pons was one of four artists to speak at the series. María Magdalena the Institute lecture Sarah Vogelman, María Magdalena Campos-Pons and Jared Quinton. Vogelman and Quinton co-organized the 2016-2017 Artists at co-organized and Quinton Vogelman Quinton. Jared María Magdalena Campos-Pons and Sarah Vogelman, Samuel H. Kress Lecture Samuel H. Kress annually is delivered Lecture The Samuel H. Kress scholar in conservation, who by a prominent important issues within the fields of presents This painting conservation and technical art history. of the generosity event is made possible through Foundation. the Samuel H. Kress Conservator Michael Gallagher, Sherman Fairchild Paintings Conservation, The Metropolitan in Charge, Museum of Art Truths Title: Brokering

This visiting professorship, established by an This visiting professorship, anonymous donor and named in honor of the welcomes a prominent grandmother, donor’s conservator or scientist each semester to the for research Institute who is advancing new areas and teaching in art conservation. Becker, Senior Conservator, Sherman Lawrence Department for Objects Conservation, The Fairchild Museum of Art, New York Metropolitan Choice: The Casting of Metal Title: Technological in Asia Sculpture , Oosten, Conservation Scientist Emerita Thea Van Cultural Heritage Agency of the Netherlands Title: Plastics in Modern Art: and Contemporary Meant to Last Forever? Judith Praska Distinguished Visiting Visiting Judith Praska Distinguished and in Conservation Professors Studies Lecture Technical , Senior Curator, Special Projects in Projects Special Curator, Cooke , Senior Lynne DC Modern Art, Washington Gallery of Art, National Incommensurables Title: Curating the of 20th Professor , Associate Brigid Doherty Archaeology, Department of Art and Century Art, Princeton University the Opposition onetwo and Title: Hanne Darboven’s and Describing of Writing MAXXI, Rome; Hou Hanru, Artistic Director, The Robert H.N. Ho Family Consulting Curator, Initiative, Guggenheim Foundation Chinese Art Museum of Tales The exhibition at the Guggenheim, Topic: Our Time. College, Ben Lerner of English, Brooklyn , Professor Author at the Edge of Title: The Kiss of Media: Ekphrasis Fiction of History of Art Lippit, Professor Yukio of Japanese Art; Director and Architecture, University Studies, Harvard Undergraduate Title: Emaki Narratology Art History, Amy Powell, Associate Professor, School of Humanities, University of California, Irvine Face of Landscape Title: The Indifferent Artist Lucy Kim during the installation of her Great Hall Exhibition “Rejuvenate and Repeat.” Artist Lucy Kim during the installation of her Great

Planned and coordinated by the Graduate Student by the Planned and coordinated invites art of lectures Association, this series conservators, and historians, archaeologists, of periods and genres specializing in a variety with the Institute their latest research to share community and general public. Series explored The 2016-2017 Daniel H. Silberberg of narrative in art and art historical writing: the role visual the theme was an invitation to consider how art narrates, as well as how art historians narrate the history of art. Having hoped to draw attention to how art can be framed by narrative, negate its narrative through narrative, and even conjure PhD were absence. The 2016-2017 Coordinators candidates Robert Geilfuss, Elizabeth Lee, and Ksenia Soboleva. Daniel H. Silberberg Lecture Series Lecture Daniel H. Silberberg Speakers: Art, Department of , Professor, Anreus Alejandro University William Paterson Bechara, Artist Tony of Art History, Pepe Karmel, Associate Professor NYU Department of Art History, in the Americas: Title: Geometric Abstraction and Her Art Worlds Carmen Herrera Latin American Forum Sponsored by the by the Sponsored Forum American Latin Latin American on for Studies Institute Art (ISLAA)

The Institute of Fine Arts Annual 2016-2017 76 The Institute of Fine Arts Annual 2016-2017 77 The Roberta and Richard Huber Richard The Roberta and Arts and Visual Colloquium on the of Spain and the Colonial Culture Americas discussions and panel This series of lectures the U.S. scholars from held each semester brings broader art historical and to explore and abroad to the arts as well as contextual subjects relating of Spain, from the visual and material cultures ancient to modern the Spanish time periods, and the first and Portuguese-speaking Americas from Founded Contact era to the nineteenth century. Robert Lubar Jonathan Brown, by Professors J. Sullivan, the Colloquium is now and Edward Colloquium Sullivan. The by Professor organized and continuing of the generosity is the product and we Huber, support of Roberta and Richard year’s thank them heartily for making the current activities possible. SUNY New Paltz Art History, , Professor, Reva Wolf Paco”: Goya and Freemasonry Brother, Title: “Your , Fernando Professor Felipe Pereda Zóbel de Ayala University of Spanish Art, Harvard Title: Crime & Illusion: The Spectator as Witness in Golden Age Spain Julia McHugh, Douglass Foundation Fellow in Museum of Art American Art, The Metropolitan Prints, and Private Libraries in Title: Tapestries, Peru Viceregal of History, , Associate Professor Amanda Wunder CUNY Graduate Lehman College, and Art History, Center Art in a Century of Seville: Sacred Title: Baroque Crisis , Research Fellow, Department of of Department Fellow, , Research Moody Jennifer at Austin of Texas University Classics, in Modern and Trees and Sacred Title: Veteran Minoan Crete University Associate, , Research R. Stocker Sharon Blegen and Jack L. Davis, Carl W. of Cincinnati, of University Archaeology, of Greek Professor Cincinnati the Griffin of Tomb Title: A Prince of Pylos: The Warrior , Professor, Department of Peter M. Day, Professor, UK University of Sheffield, Archaeology, and Jars Title: Late Mycenaean Transport Commodity Movement in Political context: New the Argolid evidence from Cypriot Peter M. Fischer, Senior Professor, University of and Near Eastern Archaeology, Sweden Gothenburg, Cyprus, 1600-1150 BCE: Title: Hala Sultan Tekke, Metropolis the Rise and Fall of a Trade Mediterranean Eleni Hatzaki, Associate Professor, University of Cincinnati Archaeology, Title: Fluidity and Stasis in the Cityscape of Late Age Knossos Bronze Institute for Prehistory, Joseph Maran, Professor, and Near EasternProtohistory Archaeology, University of Heidelberg the Rise of Its Palace to the Post- Title: Tiryns: From Palatial Resurgence New York Aegean Bronze Age Aegean Bronze New York Colloquium Aegean Bronze Founded in 1974, the New York at Age Colloquium is celebrating its 42nd year the Institute. The Colloquium is internationally new venue for presenting as a premier recognized Age and discoveries and ideas on Aegean Bronze Eastern and art. related Mediterranean pre-history The Kirk Varnedoe Memorial Lectures were were Lectures Memorial The Kirk Varnedoe perpetuate the in 2006 to honor and established dedicated and Varnedoe’s Professor memory of scholarship at mentoring, and innovative teaching, of Fine Arts. the Institute of Aesthetics , Professor Jacqueline Lichtenstein Art, Université Paris – and the Philosophy of Sorbonne the Right of Art I. - Who are · On Judging Works Judges? of of Art II. -The Esthetic Value · On Judging Works Uniqueness Authenticity, Originality, and Experts of Art III. - Forgers · On Judging Works The Annual Kirk Varnedoe Memorial Memorial Varnedoe Annual Kirk The Lectures Implementing Time-based Media Implementing Time-based Media Rafael Lozano-Hemmer, Artist, Mexico-Canada Title: Best practices for conservation of media art perspective an artist’s from School of Christiane Paul, Associate Professor, Adjunct Media Studies, The New School, New York; Museum of New Media Arts, Whitney Curator, American Art, New York to Preserving Title: Conserving Context: Approaches Digital Art Time-based Joanna Phillips, Senior Conservator, Media, Solomon R. Guggenheim Museum, New York Title: Implementing Time-based Media conservation in Museum Practice Interactive Daniel Rozin, Associate Arts Professor, (ITP), NYU; and Program Telecommunications , Conservator of Contemporary Christine Frohnert Adjunct LLC, New York; Art, Bek & Frohnert & Time-Based Media Art Conservation Professor Coordinator, Curriculum Development Program Arts, Conservation Center of The Institute of Fine University New York digital interactive kinetic sculptures Title: Creating for the long run - Daniel Rozin in conversation with Christine Frohnert Assistant, Tina Rivers Ryan, Curatorial Research Modern and Contemporary Art, The Metropolitan Museum of Art, New York Beginnings: On the History of Title: Some More Time-Based Media Exhibitions

conservation in Museum Practice Joanna Phillips, Senior Conservator at the Solomon R. Guggenheim Museum, during her lecture lecture at the Solomon R. Guggenheim Museum, during her Joanna Phillips, Senior Conservator

The Conservation Center’s Topics in Time-based Topics The Conservation Center’s by organized Media Art Conservation events are and are Roemich and Christine Frohnert Hannelore Mellon W. supported by the Andrew generously Foundation. Bek, Conservator of Contemporary Art - Reinhard LLC, New York Bek & Frohnert Title: A Question of Kinethics Associate Director Deena Engel, Clinical Professor; the computer Science Studies for of Undergraduate Department of Computer Minors programs, Science, Courant Institute of Mathematical University Sciences; New York Code Analysis in the Conservation of Title: Source Art Software-based Mona Jimenez, Associate Arts Professor/Associate and Preservation Moving Image Archiving Director; University New York Program, & Title: Art in an Ecosystem: Media Art Communities Conservation Research, , Head of Collection Care Pip Laurenson London, UK Tate, Title: Can Artworks Live in a Museums Collection? Kate Lewis, Media Conservator; Peter Oleksik, Associate Media Conservator; Ben Fino-Radin, Associate Media Conservator at MoMA Title: Media Conservation at MoMA Topics in Time-based Media Art Topics Conservation

The Institute of Fine Arts Annual 2016-2017 78 The Institute of Fine Arts Annual 2016-2017 79 , Visiting Assistant Professor of Fine of Fine Professor Assistant MinturnKent , Visiting Historians.” for Art “Early Freud Arts, presented Professor Holben Ellis, Eugene Thaw Margaret Consultant, Conservation of Paper Conservation; for Printing: An “Drawing La Pietra, presented Villa Dürer’s Albrecht Narrative for Expanded Fabrication and Eve, 1504.” Drawing, Adam a Matthew Hayes, PhD candidate, presented Saw: “What Burckhardt portion of his dissertation, of the Renaissance, Restoration and the Invention Spring 2017). c. 1850-1904” (defended Michele Marincola, Sherman Fairchild of Conservation; Distinguished Professor La Pietra, presented Villa Conservation Consultant, a work of art? tell us about “What does facture of early sixteenth- a group Initial thoughts about Spanish busts from reliquary century Netherlandish collections.” of Art History, Dipti Khera, Assistant Professor “The Art of Department of Fine Arts, presented Feeling Place.” , PhD candidate, presented Matt Worsnick a portion of his dissertation, “‘Italian was the civilization which had left such splendid monuments’: Narratives of excavated architecture territory.” in a contested Italo- Yugoslav , James R. McCredie Professor Professor , James R. McCredie Clemente Marconi Art and Archaeology; in the History of Greek Excavations at Director, University Professor; “The Construction of the Selinunte presented Cult Statue and the Making of Temple, Sacred: Religious Experience in Ancient Greece.” , William R. Kenan Jr. Professor of the of the Professor Barry Flood, William R. Kenan Jr. of Arts Humanities, Institute of Fine Arts and College Europe? “Globalism Before and Science, presented System.” Ethiopia and the 12th-century World Works in Progress Works series was initiated in 2013 In Progress The Works Association to create by the Graduate Student and advanced faculty a collegial forum where and ongoing current doctoral students can present the students and faculty, Open to current research. to facilitate conversations beyond series aspires about methodologies and research, the classroom issues. and interdisciplinary about specific projects talks augment the rich In Progress The Works faculty, intellectual exchange between students and Arts. and among colleagues, of the Institute of Fine PhD candidates were The 2016-2017 coordinators English Cook and Christopher Richards. a , PhD candidate, presented Laura Corey portion of her dissertation, “The Inspiring Insider: in for Impressionism Mary Cassatt and the Taste America.” a Antonia Pocock, PhD candidate, presented Claes portion of her dissertation, “Pop Primitivism: and H.C. Westermann.” Oldenburg The New York Renaissance Consortium Renaissance New York The to was established Consortium The Renaissance curators, and scholars, students, bring together in the arts of the Renaissance. interest others with network the Consortium is a year, Now in its 7th lectures, information on research, for publicizing Area. New York and exhibitions in the workshops, calendar and a maintains an online The Consortium events. sponsors related and it regularly listserv, Hunter College of Art History, Maria Loh, Professor and the Genius of Tactus, Tocco, Title: Tangere, Titian , PhD candidate, Institute of Fine Institute of candidate, , PhD Singh Saarthak Arts of Art Dipti Khera, Department Respondent: NYU History, the Domineering Witnessing Prowess: Title: “Heroic of Hanuman” Disposition of Fine Guillaume Malle, PhD candidate, Institute Arts , The Metropolitan Respondent: Charles Little Museum of Art The Mosaic Title: “The Quotidian, in Its Immensity: of Otranto” in the Nave of the Cathedral of Fine Arts , PhD candidate, Institute Zhao Wei , Department of Art Respondent: Dipti Khera NYU History, (ca. Album Leaves by Ma Lin Title: “Two 1180/90-after 1256)” J. English Cook, PhD candidate, Institute of Fine Arts Respondent: Rob Slifkin, Institute of Fine Arts in Michelangelo Title: “Attitude and Architecture ” The Passenger Antonioni’s , RES: Anthropology Anthropology , RES: Pellizzi Francesco

, PhD candidate, Institute of Fine Arts Alexis Monroe Respondent: Kent Minturn, Institute of Fine Arts in Title: “Figurative Language: Metonymy and Desire Salomé Illustrations” Beardsley’s , Ailsa Mellon Bruce Professor of Fine Jonathan Hay, Ailsa Mellon Bruce Professor Arts Respondent: Kent Minturn Assistant , Visiting of Fine Arts Professor Attitude” Title: “Style, Visuality, , PhD candidate, Institute of Fine Arts Trahey Tara Respondent: , PhD candidate, Institute of Fine Arts Dustin Aaron Respondent: Charles Little, The Metropolitan Museum of Art High Title “Monumental Encounter: The Godesberg ” Cross The Attitudes of Artworks: A Pop-up The Attitudes of Artworks: A Pop-up Graduate Student Symposium and Aesthetics and Liminal Spaces: A Title: “Possession, Ecstasy, ” Re-evaluation of Athenian Eye-Vessels Symposium The Institute-Frick Collection The Frick century, than half a For more hosted a of Fine Arts have and the Institute The in art history. for graduate students symposium candidates in art history symposium offers doctoral papers original research the opportunity to deliver to engage with colleagues in in a public forum and expert. This event is preceded the field—novice and by with presentations by an in-house symposium one is selected to Institute students, of which three the Institute. represent were presentations In 2016-2017, the following given: “Plastic Connor Hamm*, MA candidate, and The Ballets Suédois” Performance: Relâche Patrons, Angel Jiang, MA candidate, “Architects, and the Late Gothic Style in Castile” , PhD candidate, “An Christopher Richards Impossible Collection of Names: Some Reflections Byzantine the Met’s and Interpreting on Viewing Head of a Woman” *2016-17 Institute-Frick Symposium Speaker 2016-2017 Conferences Conferences 2016-2017 and Symposia

The Institute of Fine Arts Annual 2016-2017 80 The Institute of Fine Arts Annual 2016-2017 81 Keynote Lecture Banks Endowed Chair, Coco Fusco, Andrew College of the Arts, University of Florida Title: The Art of Intervention: Performance and the Cuban Public Sphere by Juanita Solano Roa, PhD candidate, Introduced The Institute of Fine Arts Closing Remarks J. Sullivan, Helen Gould Sheppard Edward in the History of Art, The Institute of Fine Professor Arts and College of Arts and Science, New York University Panel 3: Distributed Objects , PhD Moderated by Madeline Murphy Turner candidate, The Institute of Fine Arts Theory Philomena López, PhD student, Art History, and Criticism, University of California San Diego Title: Señor Suerte: A Critique of Antagonism Modern Lorna Dillon, Associate Lecturer, Languages, University of Kent Collective Memory and Transitional Art, Title: Textile Justice Manuela Ochoa Curator, Museo Nacional de la Memoria, Bogotá Justice Title: When Memory Surrounded Panel 2: Art/Action Panel 2: Art/Action Ortiz, PhD by Blanca Serrano Moderated of Fine Arts candidate, The Institute The Mya Dosch, PhD Candidate, Art History, City University of New York Graduate Center, of Bureaucracy: Title: Mobilizing the Aesthetics October 2, 1978 Interventions Grupo Suma’s and Professor, , Researcher Paulina Varas Andrés Bello and Universidad Campus Creativo, Chile Valparaíso, CRAC Coordinator, Una de Avanzada: Title: Desobedecer la Escena en el Chile de los años lectura contextual de CADA ochenta , Assistant Professor María del Carmen Montoya and Spatial Practices, Corcoran of Sculpture Washington School of the Arts and Design, George University Finding Problem Creative Title: Ghana Think Tank: on the US-Mexico Border , PhD candidate, Department of Art Department candidate, , PhD M. Law Jessica British of University Theory, Art and Visual History, Columbia is B, but what about C? B, or No A Title: All A are Diagrams Pica’s Notes on Amalia Moderated by Brian Bentley, PhD candidate, The Institute of Fine Arts Pablo Santa Olalla, PhD candidate, Historia del Arte, Universitat de Barcelona “Inobjetual” Title: Not Only Mail Art: From Experiences to Performance. Clemente Padín, Performativity and Activism, 1971–1977 Amanda Suhey, PhD candidate, Art, Art History Studies, Duke University and Visual of Failure Title: Gold Standards/Legacies Panel 1: Alternative Structures Keynote Lecture Columbia Professor, Giunta, Tinker Visiting Andrea Latin American Art, of and Professor University, Facultad de Filosofía y Letras, Universidad de Buenos Aires Title: People, Mass, Multitude Moncada, PhD by Sean Nesselrode Introduced candidate, The Institute of Fine Arts Organized by Institute of Fine Arts PhD candidates by Institute of Fine Organized Madeline in Latin American art: Brian Bentley, Moncada, Sean Nesselrode Murphy Turner, in Blanca Serrano Ortiz, and Juanita Solano Roa; J. Sullivan. conjunction with Edward In the aftermath of the 2016 US Presidential of the 2016 US Presidential In the aftermath call issued the following Bruguera Election, Tania has ended. time for the symbolic to artists: “The system work tool—not to make the Art is now a but to change the system.” This symposium better, art and of merging the relevance interrogates especially in works politics in the Americas, oppression, political resist that explicitly seek to and legacies of colonialism economic imperialism, not aim to address public discourse. We through that marshal “relational only contemporary works geopolitical of profound aesthetics” at a moment that has sought to crisis, but any intervention the body politic and yield political or social target in quantifying transformation. Less interested works, this symposium the efficacy of such the regarding questions hopes to examine larger potential ability of artistic practice to produce is, the compatibility of results—that concrete or art and activism. What constitutes success of When, if at all, must art bear the burden failure? is this achieving sociopolitical change? For whom Might and to whom is it responsible? art produced, outcome? be a desired failure 2017 Institute of Fine Arts-ISLAA Arts-ISLAA of Fine Institute 2017 Symposium and Social Symbolic: Art Beyond the in the Americas Engagement Gavin Jantjes and Nandipha Mntambo in conversation Publishing Art History Digitally: The Digitally: History Art Publishing Future and Present and together art historians brought This event the their views on experts to share publishing a Combining digital art history. of publishing future this symposium was and two roundtables, lecture to involved in, or wishing to all those of interest well as to those digital publishing, as embark on, publishing digital looking for solutions to who are formats. in compact online humanities research by Nineteenth-Century Art Worldwide, Organized by the Samuel H. Kress the event was funded Center for the Humanities Foundation and the NYU It was followed up by a hands- of charge. and is free at the development workshop on professional annual meeting in February, College Art Association extra cost. at no open to all CAA registrants

Stephen K. Scher Lecture by Institute alumnus, A special talk organized , Stephen K. Scher and given by Ulrich Pfisterer Ludwig-⁠Maximilians- Chair of General Art History, ⁠Universität MünchenInstitutfürKunstgeschichte Zentnerstr Apes. Numismatics and the Science Title: Chardin’s of Observation , Professor in the History by Ingo Herklotz, Professor A lecture of Medieval and Italian Art, University of Marburg, Institute of Fine Arts by the sponsored Germany, Alumni Association. Richard Krautheimer in Germany (1925- Krautheimer in Germany Richard the Uncertain Origins of a 1933) Towards Distinguished Career , Curator, Little, Curator, A special talk given by Charles T. Museum of Art. The Metropolitan World: Title: The Art of Ivory in the Carolingian Assessing and Reassessing the Canon Paul Lott Lectureship Freedom As Form: Gavin Jantjes and Gavin Jantjes and As Form: Freedom Mntambo in Conversation Nandipha together Nandipha event brought This dynamic Gavin Jantjes, two internationallyMntambo and on artists, for a discussion South African renowned with diverse engagements respective art and their Mntambo society and history. culture, the nation’s artistic generations different and Jantjes represent the apartheid years and in South Africa, spanning the post-apartheid present. Performa with This event was co-presented with the Institute’s Institute and was affiliated Boundaries: “Crossing 2016 workshop series, Art History.” Additional support Making World NYU Africana the NYU History Department, from of Social and Department Studies program, Cultural Analysis, NYU Department of Art History, Tisch Department of Photography and Imaging at School of the Arts, and NYU Center for Multicultural Education and Programs. Special Engagements Special

The Institute of Fine Arts Annual 2016-2017 82 The Institute of Fine Arts Annual 2016-2017 83 Participants Aarhus Dorthe Berntsen of Psychology, , Professor Center on Autobiographical University; Director, Memory Research and Martin Brandt Djupdræt, Head of Research Den Gamle By Presentation, , Head of the Department of Henning Lindberg Living History and the Department of Reminiscence at Den Gamle By Mathiassen, Curator, Engelhardt Tove Den Gamle By Memory Spaces Collaborative Collaborative Spaces Memory Conference Den Gamle By of curators at the In 2012, a team of researchers Denmark and a group museum in of Aarhus University Department based in the Center on and Behavioral Sciences Psychology an began Memory Research Autobiographical museum of art therapy utilizing innovative form patients and their settings to engage dementia team published In 2013, the research caregivers. their findings in the Journal of Consciousness and more that patients recalled Cognition, concluding museum setting. In memories in the immersive about this phenomenon, an effort to learn more between art and and to examine the relationship a platform for provided this conference memory, By program behind the Den Gamle the researchers was also their work. This conference to present about how art history can an opportunity to think historically and in consider this phenomenon how an and to explore the contemporary sphere, including art team of researchers interdisciplinary low-cost spaces for dementia historians can create York City in New and their caregivers sufferers by was organized and beyond. This conference Studies; of Graduate Alexander Nagel, Director Dr. of Fine Arts, Institute of Fine Arts, NYU Professor and second-year M.A. student Sarah Mallory. The two “spotlights” were followed by a book The two “spotlights” were Virtual Hanna B. Hölling, “Paik’s presentation: Time, Change, and Materiality in Media Art” Archive: Brian Castriota, Time-based Media Art Scotland Conservator based in Glasgow, “Ontological Models and Authenticity in Time-Based Media Art Conservation” , Media Conservator, the Smithsonian the Smithsonian Dan Finn, Media Conservator, American Art Museum “Time-based Media Conservation at the Smithsonian American Art Museum” , Andrew W. Mellon Fellow in Media W. , Andrew Amy Brost of ModernConservation, Museum Art, New York to Authentic ‘Certificates of Authenticity’ “From Iterations in Media Art” , Collection Specialist, Athena Christa Holbrook Department of Media & Performance Art, Museum of Modern Art, New York History “Framing the Jones Buffer: Documenting the of an Iconic Image-Processing and Preservation Tool” Events highlighting research projects by students by students projects Events highlighting research Center. graduates of the Conservation and recent Spotlight on New Talents Spotlight on New Summer Projects Series Projects Summer students conservation talks by of informal A series La at Villa summer work projects about their in excavations, and Pietra, Institute-sponsored and private libraries, archives, museum laboratories, Conservation studios: Digging Deeper: conservation in the Looking Closer: Conservation in the Field; at Conservation Projects Dolce Villa! Museum; La La Pietra. C. Spencer Yeh performing at the Institute C. Spencer Yeh Legacy of the Natural – a panel discussion Panelists: Dawn Chan, journalist and critic Lucy Kim, visual artist , science journalist, professor Bina Venkataraman at MIT Spring 2017: Lucy Kim – Rejuvenate and Spring 2017: Lucy Kim – Rejuvenate Repeat Great Hall Exhibitions artists. Taking contemporary Hall Exhibitions per year showcasing prominent two Great are There Hall of the Duke House, a historic Great place in the fall and spring semesters, the expansive seminal contemporary art in the setting for displaying an impressive landmark building, provides were Hall Exhibitions The 2016-17 Great academic home and community. center of the Institute’s Blanca Serrano Ortiz de Solórzano, Adam Dunlavy, Sarah Mallory, by Institute Students, organized and Connor Hamm.

Fall 2016: Martha Friedman – Some Hags Fall 2016: Martha Friedman – Some Opening night and Panel Discussion Panelists: of Classics , Associate Professor Nancy Worman at Barnard College, and Comparative Literature Columbia University of Classics, Barnard Ann Whitney, Olin Professor College, Columbia University , author and analyst Jamieson Webster , Rosalie Solow Professor Moderator: Thomas Crow of Modern for the Arts, Art; Associate Provost Institute of Fine Arts, NYU Person Operating System by of Two Premiere World Susan Marshall & Company Concert featuring innovative artist and musician C. performs , and vocalist, Liz Pearce Spencer Yeh Philomel Milton Babbit’s,

The Institute of Fine Arts Annual 2016-2017 84 The Institute of Fine Arts Annual 2016-2017 85 Empire of Smoke: the Legacy of Tobacco Empire Stonefish, First Nation member George Beatrice Glow, 2016–2017 Artist-in-Residence at at NYU the Asian/Pacific/American Institute at NYU and a Hemispheric Institute of Performance and Politics’ Council Member and Chair of the Gunja SenGupta, Professor College, City History department at Brooklyn University of New York Polygenetic objects like the manton de Manila, manton de like the objects Polygenetic the in China and made silk shawl an embroidered staple among that became a fashion Philippines and Spain, in South America wealthy women Spice Glow’s networks of influence. expose these popular cues from takes compositional Route series patterns, navigating Manila embroidery manton de traditions. beyond individual cultural between and a plant or spice that Each digital print highlights legacy of the Manila- was intertwined with the between the 17th and 19th Acapulco Galleon Trade the social and economic centuries, embodying by colonial mercantilism. connections forged plants intoxicating aromatic In 1890, the pursuit of the American another kind of empire: produced tobacco James B. Duke’s Company. Tobacco the American market and conglomerate dominated distributors in the United worked extensively with the by being ordered before Kingdom and East Asia Court to dissolve in 1911, having run afoul Supreme and his of the Sherman Antitrust Act. In 1909, Duke Horace wife, Nanaline, commissioned the architect on Fifth Avenue. to design a mansion Trumbauer of the lucrative tobacco Financed by the proceeds site trade, the Duke House is an especially fitting on the intersection of work, a meditation for Glow’s and commerce. intoxication, luxury, This exhibition demonstrates how these recurring patterns speak of exploration and exploitation with to one another and continue to resonate contemporary concerns. the Spice By installing Duke, Route series in the former home of James B. on how the Institute of Fine Arts— we also reflect which has made the Duke House its home since engage with the history of 1958—can productively this site. Spring 2017: Beatrice Glow: Spice Roots/ Routes In Beatrice Glow: Spice Roots/Routes, Glow traces and degradation, wealth inequality, environmental the ramifications of colonialism to their historical in the early modernroots spice trade. The pursuit of the of spices, which she calls “the petroleum motivated conquest and colonization 17th century,” Trade Asia, the Pacific, and Latin America. across like the Manila-Acapulco Galleon Trade routes ferried spices, silks, and other luxury goods from China and the Philippines to Spain via Mexico. , Fiber artist; Professor, Bennington Josh Blackwell, Fiber artist; Professor, College Julia Bland, artist , Associate Curator of Textiles, Susan Brown National Design Museum Cooper-Hewitt, of Museum Samantha De Tillio, Assistant Curator, Arts and Design Opening Event, and Panel Discussion Fall 2016: Intertwined Artists: , Josh Faught, Julia Bland, Channing Hansen Jensen Sergej four fabric-based together This exhibition brought but move beyond, the by, inspired works that are evokes a different of painting. Each artist strictures Jensen combines knit wool fiber tradition: Sergej canvas in a composition and luminous painted stretcher- using modernist vocabulary; Julia Bland’s recalls a fringed less graphic weave, hung to flutter, text found Josh Faught re-presents rug or standard; to gay history in related in his culling of archives linen, an extravagant yet elegiac piecing of hemp, playful work and lamé; and in Channing Hansen’s familiar its more toward wool is caught in a relapse traditional canvas to wool, form as clothing. From hemp, linen, and lamé, the fabrics that historically for these artists, supported art and craft are, generative fine-art materials themselves. Organized with Rachel Vorsanger. by Kristen Gaylord Duke House Exhibition Series House Exhibition Duke Series brings Exhibition House The Duke landmarked art to the walls of the contemporary of two exhibitions House in the form James B. Duke Age is displayed in the Gilded The work per year. family, of the Duke former residence interior of the and the historic with the contemporary juxtaposing the past and to engage with both inviting viewers of the Institute. the future Guest Lecture and Professor , Director Guha-Thakurta Tapati in Social Sciences, for Studies Centre in History, Calcutta and the of the Art Work Title: Contesting Careers Religious Icon in Contemporary India Pre-History and Modern Art Guest Pre-History Lecture Paris Maria Stavrinaki, Associate Professor, I-Panthéon-Sorbonne Cézanne to Pierre Title: The Earth without Man from Huyghe , Professor of the History and the History of , Professor Jarzombek Mark MIT Architecture of Architecture, Theory of of the History , CarnegieDavid Joselit Professor University Art, Yale International Program, , Director, Jay A Levenson of ModernThe Museum Art and Independent , Art Historian, Ramírez Yasmín Curator of in the Department Shelley Rice, Arts Professor Tisch School, NYU Photography & Imaging, Professor Sullivan, Helen Gould Sheppard Edward of Fine Arts and in the History of Art; Institute Institute of Fine Arts College of Arts and Sciences, based artist , New York de la Torre Milagros working with photography , arts writer Ryan Lee Wong

Session 2: Panelists , Associate Curator for the Arts of Africa, Biro Yaelle Museum of Art The Metropolitan Artsy; Director, Matthew Israel, ‎Curator at Large, Artsy OnSite; Advisor to Artsy Learning; Director - ‎Artsy Emeritus, The Art Genome Project , Deputy Director for InternationalDonna De Salvo, Deputy Director Whitney Museum of Initiatives and Senior Curator, American Art de Associate, Centro , Research Ramírez Yasmín Estudios Puertorriqueños at Hunter College of Theater and English / Joseph Roach, Professor University Yale of Theater, Director , Director and Chief Curator, and Chief Curator, , Director Gabriel Pérez-Barreiro Colección Patricia Phelps de Cisneros Princeton Small, Assistant Professor, Irene University of André Lepecki, Associate Professor Performance Studies, NYU Tisch The City Joshua Cohen, Assistant Professor, College of New York , Independent Art Historian, Critic, and Reiko Tomii Curator National Kathleen Ash-Milby, Associate Curator, Museum of the American Indian Session 1: Panelists was conceived as an was conceived Boundaries Crossing of workshops in experimental series informal and of different curators, and artists which scholars, within specializations and disciplinary backgrounds could come art history and beyond the field of discipline is discuss ways that the together to Our aim was to and evolving. changing, growing, for future and resources generate dynamic ideas to expand the of study, in this area directions arts and cultural scope of discourse throughout a more to introduce institutions, and ultimately way of thinking, multidimensional, pluralistic talking about art and art studying, writing, and two In the autumn of 2016 we convened history. and access our focus towards panels, directing issues around centered engagement. Our program migration, and diaspora; and ideas of movement, regional and gesture; language, translation, of self-identification; pedagogy identities and areas The fall and education; networks and technology. by the Institute’s coordinated 2016 sessions were and MA student PhD candidate Allison Young Rebecca Cuomo. Crossing Boundaries: Making World Art Art World Making Boundaries: Crossing History

The Institute of Fine Arts Annual 2016-2017 86 The Institute of Fine Arts Annual 2016-2017 87 SUPPORT US SUPPORT STEPHEN R. BECKWITH, CHAIR R. BECKWITH, STEPHEN WILLIAM L. BERNHARD DRAIZEN JANE HUBER ROBERTA RUBIN (EX-OFFICIO) PATRICIA TOBEY DAVID MARICA VILCEK ALICIA VOLK ANONYMOUS Connoisseurs Circle Connoisseurs Committee Executive Turner’s Modern Ancient and tour of Turner’s curator-led Time at The Frick through Ports: Passages tour of the a behind-the-scenes Collection; Lab; and a visit Conservation Whitney Museum’s and Jan Vilcek. collection of Marica to the private as well City York expand beyond New Programs and global experiences. with domestic day-trips call Circle, learn about the Connoisseurs more To visit ifa.nyu.edu and click us at (212) 992-5837 or “Support Us”.

Members also receive invitations to exclusive art Members also receive designed especially for their world events that are artist studio visits to faculty- and benefit. From exhibition tours, to visits to some curator-led finest private collections, the of New York’s offers something for every Connoisseurs Circle Recent events include an after-hours, interest. Special Events Course Auditing of auditing the privilege Members receive a range of topics Institute courses that cover conservation, and archaeology. within art history, Philippe de Montebello’s Recent courses include of Art in Conversation: How Context Works Response; The Technical Dictates Meaning and of Art on Paper with Connoisseurship of Works Marconi’s Holben Ellis; and Clemente Margaret Period, I: The Archaic Art and Architecture Greek to name a few.

Membership to the Institute of Fine Arts’ patron Arts’ patron to the Institute of Fine Membership offers unparalleled Circle the Connoisseurs group renowned program, access to our rich academic City and and to the art world in New York faculty, beyond. The Connoisseurs Circle Support Support Us

The Institute of Fine Arts Annual 2016-2017 88 The Institute of Fine Arts Annual 2016-2017 89 Corporate Patron Program Patron Corporate the provides Program Patron The Corporate small businesses for corporations and opportunity their business and with to align their philanthropy Our institutional supporters marketing objectives. benefits in addition an array of significant receive entertain at our historic to the unique ability to James B. Duke House. To landmark building, the please contact us at learn about the program, more (212) 992-5869 *INSTITUTE ALUMNUS/A *INSTITUTE CORRINE BARSKY CORRINE AND PATRICIA R. BECKWITH STEPHEN BRUSH* F. KATHERINE RUTH A. BUTLER* ANNE* AND JOEL EHRENKRANZ MARGARET HOLBEN ELLIS* MARIA FERA* LOTT PAUL MARINCOLA* MICHELE D. MODESTINI DIANNE DWYER OWSLEY* T. DAVID ANNE L. POULET* ROBERTS* D. JAMES ALLEN ROSENBAUM* GEORGE SMITH VIRGINIA ST. L. TRACHTENBERG* MARVIN TROCCOLI* JOAN PHOEBE DENT WEIL* ERIC M. ZAFRAN* ANONYMOUS (8) Institute Legacy Society To start planning your gift to the Institute or to alert start planning your gift to the To the please contact so already, us that you have done at (212) 992-5869. Development Office The Institute Legacy Society is a group of special of group Legacy Society is a The Institute have recognized and friends who alumni, faculty, by their philanthropy the importance of planning wills and their for the Institute through providing arrangements, such as estates, or other gift planning pleased are We the donor. gifts that pay income to Legacy Society of our to honor the generosity to the Institute will further art members. Their loyalty scholarship conservation, and archaeology history, to come. and discovery for years Institute Legacy Society Institute Support Us Support Us Fellowship in Greek and Roman Art in Greek Fellowship and Archaeology in the field doctoral candidate For an outstanding Fellowship Florance Waterbury art and the art specializing in Asian For students of the western hemisphere and Samuel Karlan Florence Memorial Fellowship of evidence support a student who presents To and initiative creativity for the Bader Fellowship Isabel and Alfred Study of Art in Italy Italy For the study of art in Bader Fellowship Isabel and Alfred in Dutch Art For the study of Dutch Art at the Institute Fellowship J. Paul Getty Trust For internships in conservation Summer Grant James R. McCredie For student summer travel to archaeological excavations in classical lands Jean B. Rosenwald Memorial Fund For student summer travel Fellowship Judy and Michael Steinhardt Support for doctoral candidates at the discretion of the Director Julia A. Harwood Scholarship Support for doctoral candidates Fellowship Khalil R. Rizk Travel For student travel in Italy Larry Gagosian Fellowship in Modern Art For doctoral candidates studying Modern art Leon Levy and Shelby White Fellowship For internships in the field of conservation Fellowship Lila Acheson Wallace For students studying Egyptian, Modern, and Roman art Ancient Near East, Greek

Fellowship for Archaeological Excavation Fellowship for Archaeological four archaeological For student travel to the Institute’s sites Estrellita B. Brodsky Fellowship B. Brodsky Estrellita for Latin American Art History For the study of Latin American art Elkow-Muller Fellowship For the study of the arts of Spain, Portugal, and Eurasia within and beyond the Peninsula, 1400-1900 Elizabeth A. Josephson Fellowship candidates assistance for doctoral Tuition Eleanor H. Pearson Travel Fellowship Eleanor H. Pearson Travel For student summer travel Donald S. Gray Fellowship For student travel Cook Payer Fellowship Cook W.S. In memory of Walter Classical Art or Archaeology Fellowship Classical Art or Archaeology in Honor of Leon Levy and Shelby White and For doctoral candidates studying classical art archaeology Charles and Rosanna Batchelor Fund art For student summer travel to study Mediterranean & archaeology Bernard V. Bothmer Memorial Fellowship Bernard V. For the study of ancient Egyptian art Bernard Berenson Fellowship Bernard Berenson field of Italian Art For doctoral study in the Beatrice Stocker Fellowship assistance for doctoral candidates Tuition Barbara P. Altman Fellowship Barbara P. For student summer travel Andrew W. Mellon Foundation Fellowship Mellon W. Andrew For the study of conservation Endowed Fellowships Endowed Bader Fellowship Alfred Netherlands of Dutch Art in the For the study Institute Fellowships Fellowships Institute

The Institute of Fine Arts Annual 2016-2017 90 The Institute of Fine Arts Annual 2016-2017 91 Annual Fellowships Fellowship Mellon Foundation W. Andrew Support for conservation students Antoinette King Fellowship Support for Institute students in paper conservation Fund Zerilli-Marimo Travel Baroness in Italy support student travel and research To Fellowship Connoisseurs Circle Support for outstanding doctoral candidates Fund Deanie and Jay Stein Dissertation Travel travel stipend support for Ph.D. provide To students conducting dissertation research Roslyn Scheinman Fellowship Scheinman Roslyn students to Institute tuition assistance provide To academic merit who demonstrate Fellowship Starr Foundation of Asian art For the study Fellowship Stein Family doctoral candidates Support for outstanding Stockman Family Foundation Art Conservation Fellowship support conservation students To Fellowship in Conservation Suzanne Deal Booth support conservation students To Fund Rousseau Scholarship Theodore considering who are For doctoral candidates in study abroad for travel and museum careers, painting the field European Napoleone Fellowship Valeria students specializing in the fields of support To a conservation and/or curatorial students with focus in contemporary art Cook Scholarship Fund W.S. Walter art For study in Spain, or the study of Medieval and architecture Willner Family Fellowship For scholarly purposes, including travel to Israel and work at the Israel Museum, Jerusalem Robert Lehman Fellowships for Graduate Study in the Fine Arts of making For students showing promise distinguished contributions to the field Robert H. Ellsworth Doctoral Fellowship Fund in Asian Art For doctoral fellowships in the field of Asian Art Robert Goldwater Fellowship Support for outstanding doctoral candidates Robert Chambers Memorial Fellowship For student travel Richard Krautheimer Fellowship Richard For a distinguished student working in one of of interest fields Krautheimer’s Professor Phoebe Dent Weil Fund for Art Conservation Phoebe Dent Weil Education in art programs training and research support To conservation Peter Jay Sharp Foundation Fellowship living stipend and travel bursary for tuition, provide To an Institute student Paul Lott Fellowship support for Institute students Tuition Oppenheimer Fellowship conservation students support To National Endowment for the Humanities National Endowment Fellowship For the study of conservation Nancy Lee Fellowship doctoral students Support for outstanding Martin and Edith Weinberger Travel Fund Travel Martin and Edith Weinberger scholarly purposes For travel and general Marica and Jan Vilcek Fellowship in Conservation Jan Vilcek Marica and support conservation students To Marica and Jan Vilcek Fellowship in Art History Fellowship in Art Jan Vilcek Marica and doctoral students support outstanding To Maddalena Paggi and Raffaele Mincione Mincione and Raffaele Paggi Maddalena Fellowship of ancient world with a focus in the study For students Rachel Davidson and Mark Fisch Fellowship and Mark Davidson Rachel candidates doctoral for outstanding Support Art Fellowship in Islamic Ettinghausen Richard Kevorkian Fund by the Hagop Fellows supported Huber Fellowship Richard Roberta and to working in fields prior support students To modern art and contemporary Fund Aphrodisias Foundation Samuel H. Kress traveling to support conservation students To Aphrodisias Selinunte Fund Foundation Samuel H. Kress traveling to support conservation students To Selinunte Conservation Fellowship The Selz Foundation students Support for conservation Grants Shelby White and Leon Levy Travel student summer travel support To learn about the ways you can support the To call us at next generation of arts professionals, (212) 992-5869.

Pierre and Tana Matisse Foundation Fellowship and Tana Pierre the stipends for doctoral students increase To National Endowment for the Humanities Fellowship Support for conservation students Mario Modestini Fellowship in Paintings Conservation support Paintings conservation students To Leon Levy Fellowship in Archaeological Leon Levy Fellowship in Archaeological Conservation For visiting scholars studying archaeological conservation La Pietra Conservation Stipends conservation students traveling to support To La Pietra Villa John L. Loeb, Sr. Fellowship John L. Loeb, Sr. first and second-year students at the support To Institute Institute of Fine Arts Fellowship in Painting Conservation For a conservation student studying traditional easel paintings Ida and William Rosenthal Foundation Fellowship For the support of an incoming student at the Institute Hagop Kevorkian Fellowship in Conservation Hagop Kevorkian Fellowship students Support for conservation Friends of the Institute Ph.D. Students Friends of the Institute candidates support travel for doctoral To Elisabeth Hackspiel-Mikosch Scholarship Elisabeth Hackspiel-Mikosch in Decorative Arts decorative arts, in encourage the study of the To the study of textile arts or cultural history particular, of dress Donald P. Hansen Student Travel Fund Student Travel Hansen Donald P. in Ancient travel and research support student To Near Eastern art and Mediterranean and archaeology Dedalus Foundation Fellowship Foundation Dedalus student year conservation for a third Support

The Institute of Fine Arts Annual 2016-2017 92 The Institute of Fine Arts Annual 2016-2017 93 Elizabeth and Reuben Richards Colleen Ritzau Leth* Robert Lehman Foundation Curtis M. Roberts* Anne N. Rorimer* Kenneth J. Rosenbaum Elaine Rosenberg Ida and William Rosenthal Foundation Mimi Rosenwald Patricia Allen Ross Terry Naini Terry Napoleone and Gregorio Valeria Helen Nash and Victoria Jr. Samuel I. Newhouse, Lucio A. Noto Michael A. O’Connor Dara J. Mitchell* and Michael Offit Mary Ellen and E. Oldenburg Richard Jr.* Oliver, Andrew Janice Carlson Oresman* Maddalena Paggi-Mincione* and Raffaele Mincione Palmer Purcell The Peter Jay Sharp Foundation Peter G. Peterson M. Phillips Wendy Matisse and Tana The Pierre Foundation Barbara Pine Cynthia Hazen Polsky and Leon Polsky Anne L. Poulet* Laleh Javaheri-Saatchi and Cyrus Pouraghabagher Jonathan D. Rabinowitz Cummings Rafferty* Caroline and Nicholas Rafferty Rachel Davidson and Mark Fisch Rachel Davidson and Larry Gagosian Lois Severini* and Enrique Foster Gittes Hass Goldman Carol and James Goodale Toni Lorna B. Goodman Jane Mack Gould Isabella Hutchinson and Diego Gradowczyk Grotevant Sharon Debora A. Guthrie Elisabeth Hackspiel-Mikosch* The Hagop Kevorkian Fund S. Hedberg* Gregory Heleniak* Kathryn Moore Huber Roberta and Richard Mary and Michael Jaharis S. Kaplan Daphne R. and Tom Patricia E. Karetzky* Jr. Kelly, Joseph F. Susan and Robert Klein Stephen S. Lash Nancy Lee* Leon Levy Foundation Mary Schuette and Jay A. Levenson* Robert R. Littman* Paul Lott and Javier Lumbreras Lorena Robinson Mahon* Dorothy S. Mahon* and Terrence Mary S. Manges Svetlik Mann* Claire B. Mann* Vivian Michele D. Marincola* James R. McCredie Medinger Beatrix* and Gregor Charles S. Moffett* Philippe de Montebello* Joanne D. Murphy We are pleased to recognize Institute’s trustees, alumni, faculty, and friends who have contributed to alumni, faculty, trustees, Institute’s to recognize pleased are We $1,000 or commitments of for student support. The following list reflects the Momentum Campaign 1, 2011. of the Momentum Campaign on September made since the beginning more The Institute of Fine Arts, in conjunction with New York University’s $1 billion Momentum Campaign, $1 billion Momentum University’s with New York of Fine Arts, in conjunction The Institute historians, conservators art future that student support to ensure raise $50 million for has a goal to the halfway mark have surpassed We their dreams. have the chance to achieve and archaeologists gift to support our and make your you will join these visionaries $32 million and hope having raised arts leaders today! future Laurel Acevedo Laurel Mellon W. The Andrew Foundation Dita G. Amory* Antiquarium, Ltd. Meg A. Armstrong* Patricia and Stephen Beckwith B. Benenson Lawrence William L. Bernhard Glenys and Kermit Birchfield Debra and Leon Black Suzanne Deal Booth* Catherine Coleman Brawer* and Robert Brawer Deborah Loeb Brice Brodsky Daniel and Estrellita* Mary Braman Buchan* Ildiko and Gilbert Butler Ruth A. Butler* Gabriella Befani Canfield* Sofia Chappuis and Kent Charugundla Marguerite Eileen and Michael Cohen Cohen Evelyn Streit Mariana R. Cook Amy Kathleen Cosgrove Culver Margaret Lise Scott and D. Ronald Daniel Riley de Havenon Georgia and Michael de Havenon The Dedalus Foundation Hester Diamond Durr Nancy P. Anne* and Joel Ehrenkranz Estate of John H.B. Knowlton Estate of Robert H. Ellsworth Elizabeth B. Estabrook* Evnin Judith W. Nancy B.* and Hart N. Fessenden, Jr. Momentum Momentum Campaign Alicia and Norman Volk Volk and Norman Alicia Ward and Michael* Stark* Susan M. Wasserstein Felecia Weiss and Mariët Westermann* II Pardoe, Charles H. Daniel Wolf Maya Lin and Wolf* Reva June Hanjing Xu Eric M. Zafran* Dale* and Rafael Zaklad Mariuccia Zerilli-Marimò Baroness Nadia Zilkha Nicholas S. Zoullas Anonymous (8) *Institute alumnus/a Stockman Family Foundation Trust Foundation Family Stockman Stokes* Stephanie Harriet K. Stratis* Suesser Mildred McCann* Anna Marguerite D. Taggart and Robert Aso Tavitian Taylor Courtney Finch Maurice Tempelsman Cristin Tierney* Susan B. Tirschwell J. Tisch Alice M. and Thomas Julie and David Tobey Umland* Anne W. and Marica Vilcek Jan T. FOR INFORMATION ON HOW YOU CAN SUPPORT THE INSTITUTE, THE INSTITUTE, CAN SUPPORT YOU ON HOW INFORMATION FOR (212) 992-5804. OFFICE AT THE DEVELOPMENT CONTACT

The 2016 - 2017 Graduate Student Association

Lisa A. Rotmil* Lisa A. Sacerdote Bonnie Tina Samii Foundation Kress Samuel H. Schneider T. Fredric and Nancy Peretsman Robert Scully Selz T. Lisa and Bernard Christine M. Singer* Betty Selly Smith* Smith St. George Virginia Soth* Lauren Deanie and Jay Stein Judy and Michael Steinhardt Eliot B. Stewart

The Institute of Fine Arts Annual 2016-2017 94 The Institute of Fine Arts Annual 2016-2017 95 FOR INFORMATION ON HOW YOU YOU ON HOW INFORMATION FOR THE INSTITUTE, CAN SUPPORT THE DEVELOPMENT CONTACT (212) 992-5804. OFFICE AT $5,000-$9,999 Mary Lee Baranger* Ildiko and Gilbert Butler Mariana R. Cook Nancy B. Fessenden* Elisabeth Hackspiel-Mikosch Laleh Javaheri-Saatchi and Cyrus Pouraghabagher Jack A. Josephson and Magda A A G Saleh Oldenburg Mary Ellen and Richard Janice Carlson Oresman* Barbara Pine Patricia A. Ross Bonnie Sacerdote Schneider T. Fredric Smith St. George Virginia Eliot Stewart Taylor Courtney F. II and Charles H. Pardoe, Mariët Westermann* Anonymous (3) *Institute alumnus/a from This list includes commitments received July 1, 2016 to July 1, 2017. $10,000-$24,999 Stephen Beckwith Patricia and de Havenon Havenon and Michael Riley de Georgia Hester Diamond and Robert J. Desnick Julie E. Herzig* and Javier Lumbreras Lorena James R. McCredie Alexandra Munroe* and Samuel I. Newhouse Victoria Cynthia H. Polsky Jonathan Rabinowitz Elizabeth Richards Foster Gittes Lois Severini* and Enrique J. Tisch Alice M. and Thomas Julie and David Tobey Alicia and Norman Volk Daniel Wolf Anonymous Ariel Aisiks Catherine Coleman Brawer* and Robert Brawer Larry Gagosian The Anna-Maria & Stephen Kellen Foundation Stephen S. Lash Arthur Loeb Foundation Matisse Foundation and Tana Pierre Mestre Estate of Mercedes Ida and William Rosenthal Foundation Berkley Saunders* Lauren Lise Scott and D. Ronald Daniel Sheldon H. Solow Rachel G. Wilf* Anonymous (2) $25,000-$49,999 $50,000-$99,999 Brodsky Daniel and Estrellita* Brooker Kimball T. Rachel Davidson and Mark Fisch Anne* and Joel Ehrenkranz Huber Roberta and Richard The Hagop Kevorkian Fund Selz Bernard T. Deanie and Jay Stein Harriet Stratis* Marica Vilcek and Jan T. $100,000-$999,999 Suzanne Deal Booth* The Dedalus Foundation Foundation Samuel H. Kress Nancy Lee* Leon Levy Foundation Mellon Foundation W. The Andrew Napoleone and Gregorio Valeria Malcolm Hewitt Wiener Foundation Charles Williams, II Anonymous (3) Estate of Robert H. Ellsworth Judy and Michael Steinhardt $1,000,000-$6,000,000 Philanthropy plays an essential role in fulfilling the in fulfilling the essential role plays an Philanthropy generations mission to educate future Institute’s archaeologists. conservators, and of art historians, of our the generosity gratefully acknowledge We supporters. Annual Annual Donors to the Institute Contributors to the Photo Credits 2017 Annual Lisa Hoang Matthew Adams Louisa M. Raitt Cristina Aldrich Nita Roberts Ellen Archie Jason Varone Lisa A. Banner Joy Bloser Francisco J. R. Chaparro Design and Graphics Jean-Louis Cohen Thomas Crow Jason Varone Rebecca Rose Cuomo Peter De Staebler Jennifer Sudul Edwards Compiling Editor Kathryn Falato Finbarr Barry Flood Jenni Rodda Christine Frohnert Emily Frank Sarah Higby Lisa Hoang Allison Kidd Jongwoo Jeremy Kim Conley Lowrance Amy Lucker Sarah Mallory Clemente Marconi Kevin Martin Sarah Mastrangelo Joseph Moffett Alexander Nagel Haley S. Pierce Soon Kai Poh Christopher Richards Theresa Rodewald Hannelore Roemich Patricia Rubin Marika Sardar Brenda P. Shrobe Roland R. R. Smith Ksenia M. Soboleva Chantal Stein Edward J. Sullivan Marvin Trachtenberg Marica Vilcek Bonna Wescoat